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Welcome back to the PianoPod. I'm Clara Zhang. I'm Yukimi Song. For anyone listening or

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watching our show for the very first time, welcome! Yukimi and I are both classical pianists

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and piano teachers from New York City. This podcast is for anyone who plays the piano

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for fun, loves listening to piano music, or for someone who is currently pursuing a career

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in piano or works in the industry professionally. In each episode, we interview a guest speaker

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who has been breaking exciting new ground in the music industry. Before getting started,

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we want to thank our amazing fans and listeners for tuning in. Please rate our show and review

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it on Apple Podcasts because every rating review will help people find our show.

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So Yukimi, I'm very excited about interviewing our guest of season 3, episode 3.

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Actually, episode 2, sorry.

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Episode 2! That's right! Mr. Adrogos Halim, who is a stand-by artist and artist faculty

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member at NYU. And of course, he is the last student of the legendary Mr. Redmayer Horowitz.

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Oh my god. I know you have bothered to interview Mr. Halim on our show for quite some time

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because you know him personally.

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Absolutely. I actually took lessons with Mr. Halim for two years. I mean, you know, toward

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the end it was on and off, but I had a privilege to learn lessons, take lessons from him.

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And you know, I stopped taking lessons probably a year or two before pandemic. So it's been

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a while. So I can't wait to catch up with him after so many years. But he's such a dear,

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dear teacher and dear friend and wonderful person.

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Oh my goodness, I cannot wait. And so amazing he goes to study this. Well, first of all,

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you know, my story, I basically opened up Rational Music on Abu Dhabi because as a child,

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one day I read in the back of a cover of a CD that I had of Mr. Horowitz and said his

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home, last home was on Abu Dhabi, New York City. And you know, I just always had these

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little dreams. And so I was like, I'm going to move there one day. You know, it happened.

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And also Mr. Harleen, I actually met him once very briefly, maybe for two, three minutes.

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And when I actually, you know, auditioned at NYU and I came to study with Mr. Berkskii

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and he was so warm and kind, but he came out so tall and handsome and stylish. So I was

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like, am I in the fashion department? So yeah, he's such a great pianist. He sent me the

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CD or the recording recently and I was just a minute in, I was just sold. It was just

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such a beautiful song. And you know, of course, the Horowitz biography that's called Horowitz

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Life and Music by Harald Schoenberg and one chapter of the book is called Last Tuple and

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it's about Mr. Horowitz. I know. I knew the fact that Edwardus was the last student of

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Mr. Horowitz even before I started taking lessons, of course. But when I found out that

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this, there was a chapter of his, you know, Mr. Horowitz biography dedicated to Edwardus

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and document their encounters and lessons, I was so overwhelmed actually.

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It was scary. I can't wait to hear all his personal stories about Mr. Horowitz and his

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own experiences as a young piano student back then. Yeah, me too. I'm so excited to be able

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to reconnect with Edwardus after so many years. So yeah, let's get the show started. Yeah,

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of course. Let's go.

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You're listening to the piano part where we talk to the brightest minds in the industry

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about how they're bringing the piano into the 21st century.

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We're so honored to introduce Mr. Edwardus Hallin, Steinway artist, a member of the artist

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faculty at NYU and the inaugural holder of the Sasha Gornitsky Chair in Piano Studies.

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Mr. Hallin is hailed as a pianist for his superb technique, exquisite tone and distinctive

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artistry. He has performed with major orchestras worldwide, including the Baltimore Symphony,

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Chicago Symphony, Cleveland Orchestra and the Russian National Orchestra. In addition,

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he has given solo recitals at venues such as Alice Talley Hall, the Kennedy Center and

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Whitmore Hall in London. Mr. Hallin is also known and recognized as the last student of

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the legend, Vladimir Horowitz, which is documented in the chapter called Last Pupil in Harold

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C. Schoenberg's book, Horowitz, his life and music. After his second CD release in the

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year 2000, music critic Mr. Steven Wigler wrote, quote, anyone who misses Vladimir Horowitz

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would be wise to investigate his old Chopin recital by Edwardus Hallin, the last of the

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master students. Mr. Hallin is a born Chopinist. Rather than call him his master's disciple,

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it would be better to call him Mr. Horowitz's successor, end quote. So welcome, Edwardus,

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to the piano floor. Thank you so much. Welcome. Thank you so much, Mr. Hallin.

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Absolutely. So happy to be here with you both.

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Oh my goodness. We have so much to cover, but I just wanted to say how appreciative

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of you for being here. And I was telling Clara that, you know, I've always wanted to interview

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you for our show. And then finally in season three, I am ready to interview you, Mr. Hallin.

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So I'm so happy. I'm very honored. Thank you very much.

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And then, so a couple of years ago, I was sort of, you know, restarting my piano journey

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again, you know, and practicing, but I felt like I need more guidance and lessons. So

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someone suggested you need to email Edwardus Hallin. I was like, no way. He's like, you

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don't master, but this person said, you know, just try, just email. So I emailed you. I

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mean, that's sort of the start. And I didn't hear from you. So I was like, yeah, you know,

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I'm just going to look for someone else to study. And then a month later you emailed

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me back. I was like, I couldn't believe it. I was on cloud nine. I could not believe myself.

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So, and I was able to book you for the first lesson. And I still remember that lesson.

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I brought Chopin Nocturne in C minor. Yeah. It's so difficult. But I, yeah, I was so nervous.

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But I think a week, I continued lessons with you for about two years, a little over two

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years on and off toward the end. But what a great experience I had. And thank you so

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much for opening my eyes to this beautiful romanticism. Oh, no, not at all. You're being

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very kind. And also the feeling is mutual, Yukimi. And I enjoyed it very much, you know,

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teaching some time and it propels one to think about for a student and also for oneself.

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So for very selfish reasons, teaching is very good for anyone to learn about oneself. And

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that experience with you also was a wonderful one for me.

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Thank you. That's awfully kind of you to say. But yeah, so I really want to know you more

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in a personal level because I know you as a teacher and you're always sitting right

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next to me and teaching me all the music. But today is all about you, your life, your

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career. And, you know, most importantly, you know, you are known as the last student of

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Mr. Horowitz, the legend, the genius. So we want to really go deeper into that episode,

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that story. So yeah, after two, three decades from then. So but let's just start from your

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early years. I know you're from Indonesia. So let's start from there. So your life and

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what was how the music was introduced to you and so forth.

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Yes, you know, I grew up in a big household. And actually, it's large meaning it's not

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an exaggeration because I grew up in a city called Bandung, named Bandung. It's about

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100 miles south of Jakarta. And as a city of quite sizable, a million and a half to

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million people at the time, I think. And I have my family. We live in a Dutch house,

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a Tudor house. And it's quite, you know, we were occupied by the Dutch for 300 years.

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And so we had Indonesia got the independence since 1945. And I was born in 1961 in Bandung.

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And so my my parents, you know, what my father is from Shaman originally, like all the Chinese

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diaspora who are from Shaman. Yeah, from Shaman. Yeah. And, and, and my mom's family from Singapore.

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Yeah, so they, they met there. But I'm a family of six, meaning I have five siblings. So it's

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a large family. So we have a lot of the same on a cacophony of noise every day, because

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we also have, you know, I remember being growing up in the back of the house, quite large,

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because it's a factory, textile factory in the back. So I could hear sometimes, you know,

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I would be practicing and then I could hear the textile machine, you know, constantly.

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And then the people who work there and the helper and they all believe in the same, you

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know, general compounds. So it's always surrounded by people. And so my, my, my, my, I had a,

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my parents had a small upright piano, I still remember it was a Blutener.

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Oh, Blutener. I play on Blutener too sometimes. Yes, yes, yes. So and, and, and so to which

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my mom who loved theater, theater, and my father who loved, you know, fine art, fine

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art, you know, paintings and whatnot. And then they suggested we should all take piano

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lessons. And piano lessons is very common. It's part of general education. So I was the

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one who was brought up, brought up, brought to a wonderful piano teacher, Suh Sao Chu

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King, I still remember. And then she said, Oh, you know, this boy is talented, you know,

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and then she should, and to which my mom said, my mom said, you know, well, he's talented,

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I have five more to go. Which, which you do it actually, you know, we have literally

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six of us, I'm the fourth in the family. So six of us studied piano. And so, and it was

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constant. It is part, you know, looking back, you know, we all, sometimes we laugh about

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it how, how, how crazy the whole process was. And then how, how sometimes looking back at

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mom, you know, mom who, who live in the, you know, who live in the city now. And then I'm

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forever thankful thinking back, because she was the one who really was very down for to

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me to do subsequently took me to violin lessons, to Javanese lesson, Javanese dance, to take

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briefly a ballet dance and a dance and a ballroom dance. So it's a, things that we did, we,

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when we, I was a child, sometimes I found it to my great annoyance. And looking back

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now I can say, well, thank God we did that. So it was a kind of unstructured education,

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I must say, in addition to just a normal school. And so subsequently, because of that, I progress

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quite fast. And then went on to Alphonse Beccalel, you know, who is my teacher's teacher at that

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time, was very well known in the city. And so I went to study with him. So it was a very

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also unusual because I was 10 years old at that time. And then he said, you know, first

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thing he said, oh, you're facile. I have a facile facility, you know, not necessarily

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with any particular discipline to speak of, but not what I am student now, you know, but

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I said, okay, better on third concertos to study. So it's a very strange.

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That's the first piece?

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The first piece, study with him. But prior to that, I have done a lot of, you know, the

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Clementi, the Kulaws, and then we go by period, you know, the Mozart, after Mozart, the Haydn

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Mozart, we just ran through it. It's like not in particular profound way of looking

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or very detailed way of looking. So it's a very interesting kind of, but in hindsight,

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looking back at it, there was a good thing in many ways too, that I learned the repertory

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sort of in a very methodical way in that sense, you know, period to period through Bach,

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et cetera, et cetera, going by the period. And so then when I went there to Beethoven,

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I really didn't find it. I didn't quite understand it. Why? But I played, you know, but it was

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not the best looking back, certainly not the most undisciplined way, but the fact that

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it was taught so early on, it's still means and it was just extraordinary. So my growing

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up, it was a little bit that way. And also then subsequently that, you know, you need

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to do recital and then the recital. So it was the solo recital that I still had to program

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somewhere.

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That's so exciting.

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Yeah. It's like a crazy program. And looking back, I said, I would not even do that to

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a, I would not have done that to my students, you know, or even to, but bad, bad looking

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back is interesting. I started with, I believe it was a, a, a, a, a, a, a minus English suite.

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And then after that, we have the Bahia to go to Montserrat. So we do the, the Turkish

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march, you know, the A major, the Saladin A major, and then after that we need to get

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the better. We did the D major. And then after that we go to the Chopin. I saw, I did Chopin

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Saladin Rue 2. And then we go to Liszt and Liszt D minor.

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Oh my goodness.

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I mean, which is crazy.

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And you're only 10 years old.

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I was 12 years old. And then when I was third, but then after that, when I played the recital,

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so the program is completely obscene. I mean, but, but, but, but, but I didn't understand.

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Because, you know, there's no, no gauge, no, no, no standardized. And then, and bandung

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mainci, there's no music school. We all take it privately. So it's a completely on your

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own. And then there's no conservatory to speak of. There's nothing after school. And I just

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do whatever I feel like. And then, you know, but still looking back, looking back and then

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I can, the memory of the Liszt sonatas is pretty much in, in my, under my finger. I

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felt like, you know, and, and the Chopin sonata is different. That's awkward, more, really

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one it's not so easy to draw, but Liszt sonata for some reason felt comfortable. Well, comfortable

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is not the right word for the Liszt sonata.

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Meaning, meaning to, to, to, so, so it was a very interesting thing. But so I looking,

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I must say that was remarkable. Yes. The, the, and I can say with great conviction to

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say it can have, it could have been very harmful and gone, you know, and it could have been

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also many things can go wrong. But on the other hand, looking how one shape a voice,

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I think it matters a lot and how your environment and how one works. And, you know, the, the

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mind, it was not regimented at that time. So sometimes I'm not, I'm not looking, I wish

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I have much more regimented system. So perhaps where, where I, to this day, sometimes I feel

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like I, there's a kind of deficiency I have to always overcome with greater effort. But

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had I been 12 year old train in, in, in some great institutions, you know, and, and, and

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some really known and perhaps there would be, I would have an easier time, felt a greater

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confidence perhaps, but it's musical development that it's something else in the child that

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because it's like a child, you know, you let them out and do whatever they want and they

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found it. So I was pretty much growing in that musical in that sense. And then after

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he, he, he passed away, then I didn't meet another teacher and did not have four years

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and when I was 17 years old,

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but with that sort of like a free environment, I think you can say, oh, I wish, oh, I wish

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I had this, I wish I had a little bit more strict, much stricter, but I think that really

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inspire you, inspired you to be really artistic and you know, the, even that influence still

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is there in your playing. So you think, yeah, I think, I, I think, I mean, you know, I had

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the benefit of living long enough to look back and say, well, that's, you know, it is

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something is, it's something I looking back because of now the experience of teaching

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a lot, you know, meeting a lot of musicians and then, and I'm thankful for that. Not,

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not even once I, and I, I, I thank my mom and my father for that. The fact that they,

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they just, they didn't know any better. So, and they, they didn't know any better except

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that they know that the son is talented, but the four years of not having teacher also

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was quite...

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Yeah, that age, right. And I read in the book, your first teacher was a Hungarian trained,

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right?

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Yeah. But you know, he didn't, he never really quite went to the piano and to show anything

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except only to play some pass cell facility. And I still remember that he has a nine foot

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IBA.

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Oh wow.

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Yeah. Yeah. And I, I was, he was perhaps the only, the only a Western, Westerner in my

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city that I know. It was, you can imagine how unusual it was. So, so, but, but then

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when I was 17 years old, I met a really superb and dedicated teacher with Stephen Suleman

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who really said, you know, listen, you know, my dear, you, you have your way venturing

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to the wrong, to the devil, you know, I need to put you a straight back. So, and there

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were the beginning of working carefully and to understand how each physical element matter

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and introducing what it is the sound should be in relation to sound. So...

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Well, earlier you said something about like list if he was comfortable. So I was thinking

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because my very first piano teacher actually was also, when he taught me, he just came

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back from Hungary to China and I had switched over from like, from three to nine, I was

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playing keyboard and they were like training us to be DJs basically, you know, it's like

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standing up, you know, and then all of a sudden I met him and he was like, okay, you're going

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to play some, you know, a Beethoven, you're going to play some like, I didn't remember.

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I was like, this is wild. He was like, it's okay. You can just try it out and just try

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it out and see how you feel. And that gave me the courage to actually, you know, two

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years later apply for a conservatory. And I grew up, you know, in a long, long generation

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and we're the same age. So I wonder if that has something, you know, that almost fearfulness,

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like fearlessness, you know, with that.

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Yes, yes, yes. And then, you know, I think that when, the great thing about being a child

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is that you really don't understand, you know, everything is done by intuition a lot of time.

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So which is very important. I think that intuition is very, very valuable, but, you know, we

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fear sit-ins when you're getting older and older and you start understanding more stuff.

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Definitely. Yeah. But I think it's still unpacking, you know.

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Yeah.

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Wow. So right now, so speaking of fear, I mean, coming to the United States and studying,

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yeah, Julia, I don't know how you felt maybe, you know, if at first I am, I was an international

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student too. I had so many, you know, ambitions, but also fear too. So how was it like coming

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to the United States and studying with amazing, greatest Sasha Gomitsky and then later on,

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Rudolf Fierakoshny and so, yeah.

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Yeah. It is, you know, when I mentioned how important my sort of like unorthodox way of

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growing in Indonesia is, but I must say the most important format is really, really form.

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There was the four years I was at Juilliard and then subsequently four years later with

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Fierakoshny at Juilliard as well. And it was Sasha is the one who really, Mr. Garoniski,

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you know, who was really, really very crucial to start developing my tone. And so when we

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speak of technique, you know, and even when my work with Mr. Horowitz was, we only aim

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for one most important element is the voice. It's not even, that element is covered almost

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universal. I think it's that everything else is just, it's only to serve that voice, that

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sound that is identifiable with the individual musician. And that was Mr. Garoniski's start

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putting the foundation for me. It was the kind of teaching, certainly, and my lack of

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understanding from Indonesia's and you know what to expect, but I was at the great institutions,

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you know, I accepted there and it was very, you don't know what you fear because you don't

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know what it is. So I really didn't have that much fear, but I also realized early on, I

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said, everyone seems to be practicing except me. So I thought I'm going to just nap. And

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I said, my first semester, I was like, you know, practice a little bit. Oh, it's like,

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you know, life is so beautiful. Just going downtown all the time and then exploring the

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city was in 1980. I thought that I was, I would just completely, I never seen anything.

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It was like, you know, New York is one of the greatest city. And I didn't realize, I

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thought initially, I thought it was what a mess the city was. It's completely, I was

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on my own, but thankfully, I also did. I must say to also that I met, I met very soon after

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I arrived at the New York meeting was I met Judy, you know, my wife who was also studying

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with Herbert Stesson's at Juilliard. So that's how we met. And that was important. And I

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made it was a built in support also with unknowing, of course, you know, it was very important,

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I think, but studying with Sasha, it's extraordinary that I came at the time that Sasha just had

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a major health issues. He had, I believe it was a quadruple bypass. And so when he came

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back on the limited basis, so I was working and he has assistantship and consists of all

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who is who, the musician, the great musician, I mean, you know, with Andre Lapland, the

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Canadian pianist who I heard in 1977 in Australia, that propelled me actually to come to apply

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for Juilliard because I heard he's playing in the Sydney piano competition. And he played

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absolutely, I thought that he should have won, but he did well. And I heard also Diana

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Katzow, another former Gornoski alumni. And so I studied, the assistant is Andre Lapland

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and Yaninia Piafkowska, also very, very absolutely fantastic pianist, Canadian pianist who is

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a big prodigy of Arthur Rubinstein. And, you know, we have also Joseph Biela, who I didn't

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have the luxury to meet, but he passed away sooner after that. And also a great talent,

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American talent, and it was from Sasha. And I think there's a few more. And the one that

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I worked with, who I loved dearly was James Barbagallo. And James Barbagallo is perhaps

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what Mr. Gornoski was teaching me. Barbagallo was able to train me. And he was really in

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many ways looking back, it was the beginning of how to read music properly and how to read

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the score properly. It was, you know, and as I was mentioning early on, I mean, it was

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pretty much, you know, the Stefan Zuhlmann putting me a lot of the physical apparatus

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and connection to sound. But it was Barbagallo is the one who reintroduced me to much greater

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respect towards the score. And to which I think that even to this day, I still treat

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the score as if like I look at this as a piece of artwork, you know, constantly changing.

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So if I found I can find something interesting and new, that means I do well that session.

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If I found it just as familiar, then it may not be so good quality.

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So that's how, but Gornoski was also, by the way, you know, I have some, I must show you.

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Is that a picture of Mr. Gornoski? No, no, I have, I have, I have, oh, this is, I have

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a picture here. This is, this is Harold Schoenberg. Oh, the person who wrote Mr. Horowitz's biography.

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Of course, you know, he was, he's very much, it's equally instrumental in my life, because

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I met him in 1984. We will get to it later on, because he was also the author of Great Pianist.

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Oh, right. Yes, yes. The great conductor. And I have, you know, I was fortunate enough

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to have to know him until his death, you know, for the period of 20 somewhat years. So, you

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know, we literally, not to diverge, you know, the story was, Mr. Schoenberg also was also

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an author of many interests, including how not to bogey.

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Oh my gosh, that's so funny.

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It was fascinating because, you know, it's the mind, a great mind.

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A true artist.

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And there's such, actually, Wanda and Vladimir Horowitz knew how much Schoenberg meant to

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me. And he would occasionally, you know, hand him on the coffee table where we will be taking,

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and he would say, you know, look at this article, you know, there was a pretty much an article

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that is facing music, you know, and where, where, say, you know, Schoenberg was talking

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about what's today's young people know, meaning young pianists. And he said, Wanda would say,

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he's right, you know, he's right. And so I sort of get a hint there was a kind of rapport,

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in cultural rapport between Schoenberg and Horowitz. And I felt that very strongly.

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But anyway, so getting back to Mr. Horowitz, or to Mr. Goronitsky was, he was Levine, studied

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with Joseph Levine. And really, pretty much, I must say, you know, Joseph Levine being,

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when we talk about the apex of pianism, you know, the so-called the golden age era of

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pianism, I would say Levine would rank up there.

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I see.

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Yeah, you know, and yet, his output is small. Meaning his recording output is very small,

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unfortunate, you know, and I mean, he was he dedicated much more to teaching. And Goronitsky

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was very much byproduct of that great school, pianism of school. It's mainly the sound,

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the deep singing tone. And then it was the kind of understanding where Rosina Levine

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and Joseph Levine wrote that principle of piano playing is a small book, you know, which

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is, I think it was a seminal book for pianists, because here we thought about how the usage

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of flatish to create sound and how legato is the most important and it's singing. So

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I remember the entire work of four years with Sasha was always say, he would constantly

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emphasize until you can tell it is the act of singing, constantly singing, singing, no,

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not singing enough, it was no, no, no, no. And even I felt like my hand has already drilling

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into the key. That's not enough. He said, you need to play all the way to the floor.

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This is how the power of creating and but, you know, and all in here, all of them say,

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share very common thing in order to do this, you need the strongest technique and then

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the strongest independent of the finger and strength of it. So it's the usage of the weight,

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you know, the flexibility of the torso and etc. So it's really all encompassing, you

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know, and maybe talking about speaking of the piano technique. That's how and I learned

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and the habit of learning of also there is no such a thing and learning fast with Sasha.

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And I work on the Ramayana III, it says like one year, Schumann, David Brunner times one

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year. There's no such thing you work for one month and move on to that. In retrospect,

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I would say this maybe at least it works for me on my and I felt like I can finally internalize

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it back there. Right. We just after all this is the important work. So did you go to a

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lot of concerts back then? I'm sure you did. Yes. Yes. I mean, when I was in Kansas, I

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actually I you know, I want to tell you how I actually met you. You probably don't remember

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I mean, such a long time ago I was in Kansas. I mean, I came here on tour and then I met

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a teacher in Manhattan school and she was like, I speak Chinese and I was like, I don't

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speak a word of English. So she was like, well, you know, let's go to Kansas, I'll give

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you a scholarship. So once I'm there, you know, a couple years in and I have this other

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other teacher, James Dreyvers, Mr. James Dreyvers, he was very well known in Kansas, but he studied

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at Juilliard. So he kept talking about all these concerts that he goes to, you know,

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when he was in New York and I'm like, you know, I actually promised to a tree when I

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was 30 that I was going to move to New York, but I can't tell anybody because I mean, kids

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it's hard when we go to New York. So he was like, why don't you just email Mr. Bernstein

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and let's see if you can take a lesson. And I came and then Mr. Bernstein was like, okay,

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go talk to Mr. Harleen. And I remember seeing you and then I was like, am I in the fashion

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department or you know, you're piano because you're so well dressed. I know you're like

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a fashion designer or something.

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I was. Too vain.

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No, no, no. You're a true artist. And you are so kind. So tell us a bit.

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Thank you. I appreciate it. By the way, you know, I adore Mr. Bernstein, Seymour, I think

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he's really one of the, when we were in school, I always find that his saying is always the

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most, a lot of wisdom and wit. And really, I really was when we speak, you know, and

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I enjoy very much.

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Unfortunately, yeah, I actually didn't get to come to New York eventually. My Chinese

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teacher forbid me from moving to New York when I was 21, so I only moved here later.

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But so I really am curious of like the concert theme, you know, so like, did you go to a

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lot of concerts?

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I've been here many. I heard many. I heard Laza Berman. I heard Yuri Agorov. A lot of

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at the time, it was a lot of Russian, Russian so-called, you know, when the Soviets still

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quite close, you know, I came in 1980. So it's, and also we also have this impression,

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you know, anything the Soviet pianists must be really good, you know. And after all, I

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studied with a Russian teacher and also this kind of feel, you know, and I heard Askenazi

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were fantastic pianists also. Askenazi was just, and I heard Maurizio Polini. I grew

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up listening to Polini in Indonesia. You know, in Indonesia, we listen to Decikramaphon or

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Tekka or Phillips and they must be good. And I go to a lot of the Carnegie Hall recitals,

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you know, and it was such a beautiful hall. So I was introduced to a concert. I heard

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Martha Argrich, very exciting. You know, a lot of pianists and of course at the time,

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you know, Zuby Mehta was coming as a conductor as well prior to that was Bernstein. And it

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was quite an incredible life, you know, to constantly be exposed to it in the music scene.

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And Alistair Levy also have concerts all the time, you know, a lot of artists would come.

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So it was an incredible learning experience for me because to see how these people and

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then to realize that, you know, just as we were talking about the fear or lack of fear

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when we were young, but these people to do it all the time there in front of that many people,

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there was another kind of level of accomplishment.

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Sure. So that's what it is about coming to New York and study because you get to see all these

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giants in front of your eyes. But to me, you are also one of the giants.

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Yeah. But we, so we want to know your performance career,

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like any memorable concert you've given or maybe concerto, just give us like one story.

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You know, I remember many things certainly, you know, and, and, and, you know, as an artist,

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you know, we played really well, sometimes not so well.

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Oh, shucks, you know, but what happened, but, but nevertheless, it was always,

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we learned to always bounce back from it and then always look forward, you know, and then not dwelling

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too much as long as work, work, work, work all the time and trying to make sure. And so, so, you know,

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I, I, I enjoy performing for instance, the concerto I performed quite a bit also with the,

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the Rachmaninoff third I did quite often. And it was, I always found it gratifying to play them,

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but although it's pretty sadistic in a sense, you know, the effort had to be put in there, but, but

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it is, it is, Rachmaninoff is a very glamorous and yet felt, you know, it's a serious music and,

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unlike some quarter who perceived Rachmaninoff as being a little bit too lightweight, but I don't,

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I don't agree at all, you know, but, but, but however, and also I, I ventured into, into Chopin,

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Chopin is certainly was, was my, my favorite to, to, to, to perform up on the, the second

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concerto is so beautiful. I remember that playing that with, with, with, with the Cliffland and,

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and it was really such a great orchestra. Certainly you can, you can find, I mean,

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really that many fine orchestra, but Cliffland is, it's, it's to me still, I remember being,

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being, it was just absolute phenomenal. It's a virtuoso orchestra with great sound.

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It was, I think in many ways one can, you know, it's a great conductor they had, that they had

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there. And I also work, I love very much working with, with a fellow musician from Indonesia

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originally, it's Yaki Aling and also, you know, Ling Wanchi is such a fine musician. And it was

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truly a great musician. I thought that, you know, conducting beautifully, but I think it's, it's the

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feeling with the rapport. I felt it was just extraordinary when you have that and you're

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considered and David Zinman, I think who also I look back with great fondness because it is very

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beautiful. It just is a great musician, I thought, you know, and, and so, and then, and the sound of

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the, of the Chicago Symphony, for example, it really is something to be like next to you through

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here. And then, but so, so Chopin's second concerto is one of my favorite also, I must say. And, and,

382
00:40:17,720 --> 00:40:25,320
and another one that I really remember being with this talking about the, with orchestra was,

383
00:40:25,320 --> 00:40:32,920
was I remember being the, with the MPO, with the Malaysian Philharmonic many some years back.

384
00:40:32,920 --> 00:40:42,280
And the first time I performed the notches from the Paya, I must tell you that is extraordinary

385
00:40:42,280 --> 00:40:47,240
experience, at least the sonic experience for two, you know, we, the piano is almost,

386
00:40:47,240 --> 00:40:51,240
mostly almost like we could even call it not quite a concerto. It's not, you know, but it's,

387
00:40:51,240 --> 00:40:59,800
you know, part of the orchestration, but, but, but the sensation of hearing that when the theme is

388
00:40:59,800 --> 00:41:07,160
coming, when everyone digging into their instrument and we are being, I think the greatest

389
00:41:07,160 --> 00:41:12,920
warmth and then I realized how, how, how great an orchestrator Manuel de Falla is not only just

390
00:41:13,560 --> 00:41:20,040
great composers, Spanish composers, you know, and, and so, so, and also performing goyescas,

391
00:41:20,040 --> 00:41:28,920
I must say, is considered the most gratifying experience. And it's almost like you're,

392
00:41:28,920 --> 00:41:33,560
you're explaining, you're not explaining, you're, you're, you're going through a journey on epic

393
00:41:33,560 --> 00:41:39,400
stories. And similarly with the Schumann to which I love the most, you know, and then I, I, Schumann

394
00:41:39,400 --> 00:41:46,920
to me, it's very, very dear. And in fact, in fact, in many ways, I must say it was Schumann that,

395
00:41:48,200 --> 00:41:55,720
that gave me a lot of good start. It's very strange. And it was, it was, it was Mr. Schumberg

396
00:41:55,720 --> 00:42:04,920
met me in 1984 in Sydney. And he said, it was, yeah, man, the Davies-Bündel-Tanzer. And that was

397
00:42:04,920 --> 00:42:10,200
the beginning of our, our, our, our, you know, and he wrote subsequently in the New York Times

398
00:42:10,200 --> 00:42:17,960
magazine, you know, re-reporting that the event and how the Davies-Bündel-Tanzer was, was,

399
00:42:18,680 --> 00:42:24,200
was perceived very well by, by, you know, and so to which, to me, Davies-Bündel-Tanzer is, is, is

400
00:42:24,200 --> 00:42:28,120
one of the greatest Schumann work as well. Of course, but many, many of the Schumann, you know,

401
00:42:28,120 --> 00:42:33,400
for instance, I love the humorous greatly and I worked so deeply with Mr. Horowitz and to play

402
00:42:33,400 --> 00:42:41,560
the humorous also, oh, it's like you are manic in that, in that sense, you know, the, the, the, the,

403
00:42:41,560 --> 00:42:47,240
the kind and I, I must, I must say I'm currently learning the, the, the, the, the novelette.

404
00:42:47,240 --> 00:42:48,440
Oh, really?

405
00:42:48,440 --> 00:42:54,360
Yeah. After all, you know, that was the first, the first meeting I, I met with Mr. Horowitz

406
00:42:54,360 --> 00:42:57,320
and Mr. Horowitz went to the piano and played the novelette for me.

407
00:42:57,320 --> 00:42:58,360
Oh my gosh.

408
00:42:59,400 --> 00:43:06,920
That aural sound, I feel the, the, the, the, the, the color, the, the magic and it remains. And I

409
00:43:06,920 --> 00:43:12,200
was, I was completely, completely overwhelmed. And that, that, that I-

410
00:43:12,200 --> 00:43:16,040
You have the recording of Goyaster's too, right?

411
00:43:16,040 --> 00:43:16,520
Yes.

412
00:43:16,520 --> 00:43:23,880
Yeah, yeah, yeah. That and then Olshopan and of course the Olshopan CD became one of the monumental,

413
00:43:23,880 --> 00:43:30,840
let's say in your career that really leads to much bigger thing later on that we are going to

414
00:43:30,840 --> 00:43:36,840
discuss. But yeah, do you want to maybe talk about either one of those recordings of yours?

415
00:43:36,840 --> 00:43:46,440
Yeah, I was certainly with, you know, it was, it was a project that it comes later to, to, to, you

416
00:43:46,440 --> 00:43:51,000
know, after, after studying with Mr. Horowitz, I remember that soon after actually, you know, and,

417
00:43:51,000 --> 00:43:55,160
and when, when I was with Mr. Horowitz, you know, we were working quite a bit on Chopin

418
00:43:55,160 --> 00:43:59,720
and the Sonata being one of them. And, and, and I always play Chopin for him, you know, and

419
00:43:59,720 --> 00:44:04,920
Mazurkas was, was, he played Mazurkas all the time to me. We talked about the Mazurkas and it was,

420
00:44:04,920 --> 00:44:14,680
it was interesting because I think in here, as we, as we, we, if I trace back, you know,

421
00:44:15,640 --> 00:44:23,640
the beginning of my, my love, I mean, I always loved Chopin, but beginning to understand Chopin

422
00:44:23,640 --> 00:44:27,080
was when I heard Friedman play, recording of Friedman.

423
00:44:27,080 --> 00:44:28,680
Ignace Friedman.

424
00:44:28,680 --> 00:44:33,080
Ignace Friedman. And it was, it was interesting, you know, it was, it was Mr. Shormaku who said,

425
00:44:33,080 --> 00:44:38,840
listen to this, you know, and he invited me to, to, to come to, to view because he's, he's,

426
00:44:38,840 --> 00:44:44,920
he has a really quite an incredible collection of recordings, you know, and he's certainly

427
00:44:45,560 --> 00:44:52,600
an authority, an authority in terms of what, what a pianist world is like after, you know,

428
00:44:52,600 --> 00:44:57,400
and so the knowledge, and he was telling me, Edward, you know, let's listen to this one.

429
00:44:57,400 --> 00:45:04,040
I heard Friedman first and I heard also the, the, the Opus 55 number two, and I heard his

430
00:45:04,040 --> 00:45:09,560
song without words from Mendelssohn's. I must tell you that's, I never heard that tone,

431
00:45:10,200 --> 00:45:16,280
that sound, that singing sound is almost like he's speaking to you directly and, and that kind of

432
00:45:16,280 --> 00:45:24,200
communicating and, and maybe the closest I heard subsequently after I knew this, there was a period

433
00:45:24,200 --> 00:45:28,280
also, I heard also Tchaikovsky, Shura Tchaikovsky in life and we're talking about Carnegie Hall.

434
00:45:29,400 --> 00:45:35,160
There was prior to the changing of Carnegie Hall, meaning the prior to the renovation, the famous

435
00:45:35,160 --> 00:45:41,480
sort of debacle of renovation, I heard Shura Tchaikovsky and played, and Shura played Mazuga

436
00:45:41,480 --> 00:45:50,920
there and, and, and also played the Chopin Nocturne, Opus 62, number two. I still remember that

437
00:45:50,920 --> 00:46:00,440
to them and including the, because that sound, that beautiful color, that creamy sound, I never

438
00:46:00,440 --> 00:46:08,760
heard it before that, never. Now, now, so you can imagine the, the, the, the, so, but then I have to

439
00:46:08,760 --> 00:46:14,120
sort of, the timeline is a little bit off a little bit, but I must also explain to you, sort of

440
00:46:14,120 --> 00:46:21,320
explain what happened. So this is not, it is quite true how Mr. Horowitz is being perceived.

441
00:46:23,320 --> 00:46:30,120
When, when somebody is at that, that level, there's a lot of detractor and a lot of,

442
00:46:30,120 --> 00:46:37,480
you know, suspicion, a lot of, it's probably, at least, France suffered from it greatly too,

443
00:46:37,480 --> 00:46:43,640
I think, I mean, it is so well documented, but, but in terms of Horowitz, when Horowitz came

444
00:46:43,640 --> 00:46:51,720
to play at the Met and a colleague of mine at the school was like, are you going to Mr. Horowitz

445
00:46:51,720 --> 00:46:57,960
concerts? And I really didn't know who he was. And because, as I said, and I was introduced only to

446
00:46:57,960 --> 00:47:04,280
Polynesian, Irish, and, you know, this is great names. Mr. Horowitz was, I completely not known

447
00:47:04,280 --> 00:47:10,920
in Indonesia. We didn't hear, I know Arthur Rubinstein, for instance. And so, so, but I went

448
00:47:10,920 --> 00:47:17,880
that same afternoon, there was, I heard, you know, very dear and very respected figure, you know,

449
00:47:17,880 --> 00:47:22,040
I respect very much, was hearing, I heard the conversations, went on something like this.

450
00:47:22,760 --> 00:47:31,640
Are you going to the concert? And to which the person said, oh no, I'm not going there. Oh yes,

451
00:47:31,640 --> 00:47:40,840
of course, you know, it's a master of exaggeration. And so there was the, so to ask this person who

452
00:47:40,840 --> 00:47:47,240
are you talking about? And he says, Vladimir Horowitz. And it is not that I was really such a

453
00:47:47,240 --> 00:47:53,640
good, it was not a good song. I don't have to worry about it. Until the next day I heard

454
00:47:55,160 --> 00:48:01,720
friends reported to me, said, you know, you never heard, it's the sound, it's the huge

455
00:48:01,720 --> 00:48:09,960
math auditorium. They said the sound that, then I friend, dear friend of mine, I still remember

456
00:48:11,160 --> 00:48:17,560
Munik Chu, he became one of the big professors at Seoul National and one of the greatest friends

457
00:48:17,560 --> 00:48:25,560
of mine, very dear friend. I mean, he put the recording of funeral on the recordings and then

458
00:48:25,560 --> 00:48:33,880
through the phone. And I said, who is this one? I was completely shaken by that. That's your devil,

459
00:48:33,880 --> 00:48:38,200
demonic kind of playing. That was the beginning of a Horowitz book.

460
00:48:44,840 --> 00:48:52,920
But that sonority that I was thinking, my God, it's possible. It's Mr. Horowitz playing.

461
00:48:52,920 --> 00:49:05,400
It's like opium. It has that effect on you because it's so just beyond spectacular. It's the kind of

462
00:49:08,520 --> 00:49:17,640
temperament that is so far and the range of the emotion he created. So it was really something.

463
00:49:17,640 --> 00:49:26,920
And I didn't, of course I missed it. So then there was the period where Horowitz made the last romantic

464
00:49:26,920 --> 00:49:36,520
the movie and it was played in Carnegie Hall. So the next best thing I can do is Judy and I

465
00:49:36,520 --> 00:49:44,280
went to Carnegie to sit there to watch a film and the film's done by Albert Maisels, the movie maker,

466
00:49:44,280 --> 00:50:00,760
who is my landlord. I told you that my life is strange. I moved in November, month of November

467
00:50:00,760 --> 00:50:11,080
to December for one month to have a room rented with Albert Maisels in the Dakota apartment.

468
00:50:11,080 --> 00:50:14,440
And then the day after I moved the day after John Lennon was shot.

469
00:50:21,480 --> 00:50:28,200
Mind you, it was very strange. But it was wonderful. And above his apartment,

470
00:50:28,200 --> 00:50:32,200
the Bernstein, Lennie Bernstein on the second floor and I get to see your phone.

471
00:50:32,200 --> 00:50:41,160
It was quite, not knowing, okay, but not knowing that he was a documentary maker

472
00:50:41,160 --> 00:50:47,320
about the Rolling Stone, but not knowing he will be the one who made that last romantic movie.

473
00:50:47,320 --> 00:50:56,760
And so I went to hear and then it was just very moving even through the films and then to which

474
00:50:56,760 --> 00:51:03,080
Judy, I remember this, we have conversation on the way back. We were so overwhelmed with how sound,

475
00:51:04,040 --> 00:51:11,160
a projection of free, speaking poetically and such. And then he said, I wish you could

476
00:51:11,160 --> 00:51:20,040
study with him. And to which I just laughed. After all, when I was in Indonesia, my oldest brother,

477
00:51:20,040 --> 00:51:27,080
he's nuts. He would write to RCA, he said, I have a younger brother who's very talented.

478
00:51:28,120 --> 00:51:36,600
He'd like to study with Maestro Rubinstein. And RCA prompted him right back to my brother,

479
00:51:36,600 --> 00:51:42,040
my brother said, oh, perhaps your brother can consider Curtis Institute of Juilliard.

480
00:51:44,840 --> 00:51:45,880
No lack of ambition.

481
00:51:45,880 --> 00:51:49,160
Hey guys, we are now officially on Patreon.

482
00:51:49,160 --> 00:51:54,200
Yay, I'm so excited about our next step on this podcast journey.

483
00:51:54,200 --> 00:52:01,320
Same here. So dear TPP fans, we love what we do and it's been an incredible journey for both of us

484
00:52:01,320 --> 00:52:07,160
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485
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486
00:52:14,440 --> 00:52:19,080
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00:52:19,080 --> 00:52:25,000
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488
00:52:25,000 --> 00:52:33,960
So please go to patreon.com slash the piano pod and become part of the TPP community by subscribing

489
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490
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slash the piano pod. We can't wait to connect with you on Patreon very soon.

491
00:52:45,880 --> 00:52:47,720
Now let's continue with the episode.

492
00:52:49,480 --> 00:52:56,440
So we have to speak about Mr. Horowitz now, right? So I've been, we've been hearing his name a lot

493
00:52:56,440 --> 00:53:03,880
now. So we both read the chapter of Mr. Horowitz biography, Horowitz, his life and music by, you

494
00:53:03,880 --> 00:53:11,560
know, Mr. Schoenberg. And then one of the chapter is about you, the last few, you know, of course,

495
00:53:11,560 --> 00:53:19,880
I knew of you before I took lessons with you. I knew of you before I came to New York, but I never

496
00:53:19,880 --> 00:53:27,320
knew that one of the chapters was about you, dedicated to you. And I was so overwhelmed when

497
00:53:27,320 --> 00:53:33,080
I, when I bought the book, I was like, Oh my goodness, am I, am I going to take piano lessons

498
00:53:33,080 --> 00:53:41,800
from this guy? I couldn't believe it. So yeah, the chapter, the whole story, the 10 pages of it was

499
00:53:41,800 --> 00:53:49,480
a beginning is so exciting, but it's, I never knew it was just so complicated in the end. And so,

500
00:53:50,360 --> 00:53:54,760
so I want to know, we want to know what was it like the first lesson, because to me, first lesson

501
00:53:54,760 --> 00:54:00,440
was with you was nerve wracking. And I kept the journal, you see, this is the journal with you.

502
00:54:00,440 --> 00:54:06,680
And I even wrote a specific exercise to do and everything every day, I took a journal for two

503
00:54:06,680 --> 00:54:13,080
years. And then, so I know you kept the journal while taking lessons from him. So I wonder if you

504
00:54:13,080 --> 00:54:19,400
still keep, you have it. I still have it, it's a small journal and I kept it. And then, you know,

505
00:54:19,400 --> 00:54:24,360
even, even when Mr. Horowitz called me and whatnot, I would say, and he would subject, you know,

506
00:54:24,360 --> 00:54:32,360
sometimes, you know, my tummy don't feel so well. It's something that mundane, you know, but, but,

507
00:54:32,360 --> 00:54:37,960
but, but tell me, so tell, tell, tell that, yeah, the first, first lesson, first lesson,

508
00:54:37,960 --> 00:54:43,640
how did you come up about to do? Yes. So it's all actually, it seems to be like, looking back,

509
00:54:43,640 --> 00:54:49,880
I can say it seems to be like a natural, a natural process in, in, in, in, in, in, in, in, in why,

510
00:54:49,880 --> 00:54:55,240
why sometimes I always wonder why it happens to me, why, why it happens to other people in different

511
00:54:55,240 --> 00:55:02,360
ways too, you know, but that's how it, things fall into places. And so it started, but prior to this,

512
00:55:02,360 --> 00:55:08,680
I'd like to also speak, not quite briefly, but, but about Rudolf Verkushen, you know, that was

513
00:55:08,680 --> 00:55:19,800
after Goranzi died for years. I went on to the great Verkushen and I must tell you, that's

514
00:55:19,800 --> 00:55:26,440
a, this experience of Verkushen also, it's maybe perhaps one of the most worldly musician I know,

515
00:55:26,440 --> 00:55:32,680
and, and one of the most Christian musician I know. And, and here where, where it's interesting,

516
00:55:32,680 --> 00:55:39,400
you know, when, when one become, you are surrounded by, by, by studying, studying is not

517
00:55:39,400 --> 00:55:44,760
just merely studying canon, studying is studying to be the person you like to emulate, the person

518
00:55:44,760 --> 00:55:49,960
that you influence you, the thinking, the kind of the kindness, you know, the warmth of the person,

519
00:55:49,960 --> 00:55:57,000
you know, or for that matter, if you meet a person who you found that the, the, the rather not the

520
00:55:57,000 --> 00:56:04,280
quality you'd like to be. So that's also a learning process, but Verkushen was all in all was the most

521
00:56:04,280 --> 00:56:09,640
elegant person I know. And then, and then even to this day, to, to, to his last day, I still remember,

522
00:56:09,640 --> 00:56:14,920
I mean, meaning last day, the last day of me working, I would say I would thank him previously

523
00:56:14,920 --> 00:56:22,120
to, to, for, for the time he spent, he would say, no, it was, it's Sasha Duan who made you. And,

524
00:56:22,120 --> 00:56:27,400
and, and that kind of, you know, generosity. And in fact, you know, I brought up Verkushen because

525
00:56:31,480 --> 00:56:37,480
to study with him was, was, was to study to, to see how a great musician with great experience,

526
00:56:37,480 --> 00:56:42,840
because he was a favorite of many conductors, Gisele, George Sales included. And he was,

527
00:56:42,840 --> 00:56:49,880
he was perhaps less known in a sense than not the Horowitz fame, but, but among musicians,

528
00:56:49,880 --> 00:56:55,560
he was legendary because it's also as, as, as the kind of, he leaves, he leaves the, the,

529
00:56:55,560 --> 00:56:59,720
the, what, what, what's so called the ideal musician, but he knew the composer, the champion

530
00:56:59,720 --> 00:57:04,280
in great composers. You know, he was, he was, he, since he was a child, he was, he was taken care by

531
00:57:04,280 --> 00:57:11,240
Leos Janacek took him on as he was, as a boy of eight, nine years old. I mean, it was remarkable.

532
00:57:11,240 --> 00:57:20,760
I mean, I was, I was in NYU doing the last year I was, I was doing a sort of not a lecture or not

533
00:57:20,760 --> 00:57:27,880
lecture. So it's, you know, collegium speaking of the, the, the, the Czech school and where I was

534
00:57:27,880 --> 00:57:34,520
talking about Janacek, the divorce shark, Martinus and, and here is all the, they're so close to

535
00:57:34,520 --> 00:57:40,920
Frikushin. So he's a very important figure in here. He's the one who introduced Martinus very much,

536
00:57:40,920 --> 00:57:46,040
but the stories is unbelievable. And Frikushin was, was one of the great gracious men and with

537
00:57:46,040 --> 00:57:53,000
so much stories to tell, because he was also very dear, was very dear to Mr. Horowitz. And in fact,

538
00:57:53,000 --> 00:58:00,840
Mr. Horowitz said to me, he said, you know, when he decided to take me on, he said, please ask

539
00:58:00,840 --> 00:58:07,160
Rudy for permission. He's my dear friend, you know, and to which I asked you different question,

540
00:58:07,160 --> 00:58:12,200
to which, which is very important to, and I said, I can see why he said it. He said,

541
00:58:12,200 --> 00:58:20,200
Eduardo's it's a perfect time for you. Had it been early on, I would say no. And then I think,

542
00:58:20,200 --> 00:58:25,560
of course, you know, one can attest that from the Baskin book, you know, Grant Baskin, which is not

543
00:58:26,120 --> 00:58:36,280
the, not the most, I must say there is a lot of feeling discomfort when I read that book,

544
00:58:36,280 --> 00:58:40,600
you know, but that's some, some truth to the fact that, you know, sometimes it's difficult to,

545
00:58:41,560 --> 00:58:46,600
when, when somebody's that overpowering personality to study with that, and when you're young.

546
00:58:46,600 --> 00:58:53,960
And, and so, so I was already reaching my 27, I believe, at that time. So, Krikushni said by,

547
00:58:53,960 --> 00:59:02,440
by complete blessing from him, by all means. Then stories are the stories that Krikushni would

548
00:59:02,440 --> 00:59:07,880
tell me, how Mr. Horowitz used to cancel concerts, you know, whatever, you know,

549
00:59:07,880 --> 00:59:16,120
you know, what do you have with this book here, with, with comments that you know, Rudy, Rudy, please come to my place, you know,

550
00:59:16,120 --> 00:59:20,920
and then we said come, you know, Giancarlo, you know, Monotti, and then, you know, Sam,

551
00:59:20,920 --> 00:59:29,720
you know, Sam Barber are here with me. Sorry, all the name dropping, we can't take it.

552
00:59:29,720 --> 00:59:37,000
It's incredible. And to be such a Rudy, we'll take Kevin, we will be there, and then he's 94th,

553
00:59:37,000 --> 00:59:45,240
and since Horowitz, so Mr. Horowitz said, you know, this afternoon, I supposed to play with the Baltimore Symphony.

554
00:59:45,240 --> 00:59:51,960
So let's find a burlesque dancer somewhere in the, they say, you know, in Chinatown.

555
00:59:53,640 --> 00:59:59,000
Mr. Horowitz is a fun guy. I mean, he would be like a complete party guy, who knew where,

556
00:59:59,000 --> 01:00:04,920
who knew where the best, the best thing he knew. So of course, she had a, you said that he would get a

557
01:00:04,920 --> 01:00:09,720
gun, a taxi, you know, we will go downtown looking for dope, you know, looking for dope, but you know,

558
01:00:09,720 --> 01:00:15,240
we're shut down by the police. So there is no lacking of ideas, let's go up to Times Square, you know,

559
01:00:15,240 --> 01:00:19,400
I know a burlesque dancer with a python. Oh my gosh.

560
01:00:22,600 --> 01:00:27,640
And so he was, he saw that the announcer on the door is like, this establishment was

561
01:00:27,640 --> 01:00:32,920
shut by animal cruelty. The python was stapled in the mouth.

562
01:00:34,440 --> 01:00:41,400
Oh wow. I heard, I heard great many stories and pictures of him telling me, I, I, I think we will such a,

563
01:00:42,280 --> 01:00:51,400
I miss him very much. But anyway, so, so, so getting back to Mr. Horowitz was, was he was,

564
01:00:51,400 --> 01:00:58,440
he was in 1984 after Mr. Schoenberg heard me played and, and, and in Sydney piano competition.

565
01:00:58,440 --> 01:01:02,840
So it's also talking about career also, career choice, you know, it's a, it's an interesting, but,

566
01:01:02,840 --> 01:01:11,080
but I did there and I think I was awarded the fourth prize, you know, and, and, and, but the

567
01:01:11,080 --> 01:01:17,560
subsequent from that was, was, it was a big change in, in, in how trajectory of my career. Actually

568
01:01:17,560 --> 01:01:28,280
there I met also a lady, a very elegant person, lady, Jenny Vogel, who was helping out with the

569
01:01:28,280 --> 01:01:33,640
competition. And she was finally late, we'd make a brief introduction and then she was paying a lot

570
01:01:33,640 --> 01:01:38,920
of attention to, to, to the competition. And subsequently she was always in touch or at least

571
01:01:38,920 --> 01:01:44,920
she sent her people at, at, at, who become eventually become my manager. And, and, and it was,

572
01:01:44,920 --> 01:01:50,680
it was important because ICM, she was one of the big person at ICM and ICM was really one of the

573
01:01:50,680 --> 01:01:58,200
best. It's to what we know as Opus 3 is still, I think to me was, was really they, they're the one

574
01:01:58,760 --> 01:02:05,880
come direct from Soul Hero, you know, agency that, that actually nurtured artists. And, and, and,

575
01:02:05,880 --> 01:02:12,200
and I was very lucky to, to, to, to be with them for, for, you know, for a good, a good amount of

576
01:02:12,200 --> 01:02:17,080
time. And he was, she was the one who helped greatly. And of course, a number of, of, of the

577
01:02:17,080 --> 01:02:23,000
people there, but that's from the Sydney company. I didn't win first prize. I won fourth prize. And

578
01:02:23,000 --> 01:02:28,840
then, and then Schomburg subsequently also wrote in the, the New York Times stories. That's also

579
01:02:28,840 --> 01:02:33,800
important because it would, it put me on people most start recognizing a little bit more. And

580
01:02:35,320 --> 01:02:41,800
so then after that also Schomburg apparently wrote a lot later to Mr. Horowitz,

581
01:02:41,800 --> 01:02:47,000
because they made an, they made trying to say, you know, if you find any interesting young person,

582
01:02:47,000 --> 01:02:53,080
and then vice versa, we let each other know. And then the many, many people go through many

583
01:02:53,080 --> 01:02:58,120
pianists come to Mr. Horowitz, to hear Mr. Horowitz live, just to, to, to whatnot. And so,

584
01:02:58,120 --> 01:03:04,440
so that's how it started. Then, then Mr. Horowitz, Mr. Dubal, who I took the, the, the, the class at

585
01:03:04,440 --> 01:03:10,840
the piano lit, and Dubal was very mesmerizing person and a very, very charismatic person. And,

586
01:03:10,840 --> 01:03:17,160
and, and, and the class knowledge, and he was bringing a lot of people to Mr. Horowitz from,

587
01:03:17,160 --> 01:03:23,400
from Juilliard. So maybe I was one of the last batch of people that he brought. And so that's

588
01:03:23,400 --> 01:03:30,520
how, how finally Mr. Horowitz was aware from, that was in 1984. And the reason why in 1984,

589
01:03:30,520 --> 01:03:37,080
because, because Mr. Horowitz was already, Mr. Schomburg was working for the memoir, for Horowitz

590
01:03:37,080 --> 01:03:41,720
memoir, was working. So it was already in place. And, and, and subsequently, of course, you know,

591
01:03:42,280 --> 01:03:45,880
Mr. Dubal wrote his own, the evening with Horowitz during the, after,

592
01:03:46,920 --> 01:03:51,480
soon after Mr. Horowitz passed away, if I'm not mistaken, yeah, and the timeline. But,

593
01:03:51,480 --> 01:03:57,800
but it was, it's been long in the making. And, and, and so Mr. Horowitz, also the period of Mr.

594
01:03:57,800 --> 01:04:03,240
Horowitz is very important. Remember that Mr. Horowitz said it's important that, you know, it's,

595
01:04:03,240 --> 01:04:10,040
it's the timeless, right? And, and Mr. Horowitz is also legendary for, for his temperament,

596
01:04:10,040 --> 01:04:15,640
you know, and, and, and could be a little bit more unpredictable, perhaps to say mildly,

597
01:04:15,640 --> 01:04:25,160
and also is mercurial. You know, it can be difficult, but the first lesson I had, Mr. Horowitz,

598
01:04:25,160 --> 01:04:29,880
I was about to play addressing your mention and the first word he said,

599
01:04:29,880 --> 01:04:37,080
I'm telling Don't worry. I understand everything you will, you will do and what you want to do.

600
01:04:38,280 --> 01:04:44,920
That was the first thing he said, playing, playing. He was, he was the most, of course,

601
01:04:46,120 --> 01:04:52,280
I was nervous for so many days. I want to make sure that, you know, you have to,

602
01:04:52,280 --> 01:05:00,520
to have to dress up properly. It's a tradition. You wear a suit, you wear your shoes properly,

603
01:05:00,520 --> 01:05:05,400
and you have wear tie properly and whatnot, because it's, it's, it's an old tradition.

604
01:05:05,400 --> 01:05:09,800
We meet, I mean, I mean, with Mr. Schoenberg the same, for Christian always dressed up elegantly.

605
01:05:09,800 --> 01:05:13,960
I almost said, you know, this is for Christian like Errol Flint coming to Julia.

606
01:05:15,800 --> 01:05:21,640
It's like always the best of all elegant and go around is always, today's we are different.

607
01:05:21,640 --> 01:05:28,680
Of course, the world has moved on. So, yeah, it can be more casual, but at that time. So

608
01:05:28,680 --> 01:05:35,800
the anticipation is remarkable. And I met at seven 15 on the dot. And then we spoke a little bit.

609
01:05:35,800 --> 01:05:41,320
And then Mr. Horowitz, make sure that I'm comfortable and whatnot. And so then I played

610
01:05:41,320 --> 01:05:45,640
and so, you know, not easy. And of course, but you know, as I said to you sometime,

611
01:05:45,640 --> 01:05:51,800
not knowing how famous he was, even after I know how famous he was, the implication,

612
01:05:51,800 --> 01:05:57,320
what fame Mr. Horowitz had, I didn't understand at the time too. I said to him, oh, he's a famous guy.

613
01:05:57,320 --> 01:06:00,600
You know, I just was thinking, the only thing I think if he doesn't like me, I'm already prepared.

614
01:06:03,080 --> 01:06:08,920
I'm already psychologist thinking, hey, life move on. It's okay. It's okay. So I played, I played,

615
01:06:08,920 --> 01:06:17,800
I played, I remember I played some 80s, I played Schumann and it was, I think it was,

616
01:06:19,080 --> 01:06:26,600
I understand soon after he was, he wants to gauge what it is like, the emotional bearing of

617
01:06:26,600 --> 01:06:34,200
my playing. It's not so much of, I think we all assume that one can at that level,

618
01:06:34,200 --> 01:06:43,880
everyone can play piano very well. But I think it was much more the kind of passion and feeling

619
01:06:43,880 --> 01:06:50,680
that is there after. So I think which is, which, you know, I, to me as well, I felt that's the most

620
01:06:50,680 --> 01:06:56,440
important element anyway, right? I mean, and I'm sure to all of us, if you look at that, you know,

621
01:06:56,440 --> 01:07:02,040
what a musician is, what an artist is and let it be in literature, in painting and fine arts and

622
01:07:02,040 --> 01:07:08,440
and it sounds, it's how it touches you. And that's, I think that's the most important.

623
01:07:08,440 --> 01:07:15,080
Once that established, I remember I was, I was giddy like, oh my God, it was like, yeah,

624
01:07:15,080 --> 01:07:19,080
it's a great composition. And of course, you know, I laugh a lot too, because it's probably

625
01:07:19,080 --> 01:07:24,280
because I'm a little bit, I'm a big laugher, but also, yes, it's probably also because I'm also

626
01:07:24,280 --> 01:07:25,560
quite neurotic in that sense.

627
01:07:25,560 --> 01:07:31,080
All the training from child will come through.

628
01:07:32,600 --> 01:07:38,840
But it's so enjoyable. I have a free moment of it. The sound of the piano, I felt that I can feel

629
01:07:38,840 --> 01:07:43,960
like that piano can do, produce anything I want. And also I was very much inspired with, with

630
01:07:43,960 --> 01:07:51,080
his great presence. It was, it was the most generous presence I have, you know, and I could

631
01:07:51,080 --> 01:07:58,520
feel it was when we speak, it was speak, nothing, nothing imposing. Everything was very kind and

632
01:07:58,520 --> 01:08:04,680
welcome. It was, and even when so far afterwards, we went almost like 12 o'clock. And I remember

633
01:08:04,680 --> 01:08:07,640
it was midnight.

634
01:08:11,640 --> 01:08:15,800
The session, the session lessons always run from 7 15, maybe until 12 o'clock,

635
01:08:15,800 --> 01:08:23,320
usually until 11, 12 o'clock until, yeah, it's, it's, as I said, mentioned early on, it's a study,

636
01:08:23,320 --> 01:08:31,080
not just, yeah, the studies of person. It's, it's, it's, and, and here I remember, but I must

637
01:08:31,080 --> 01:08:37,880
not neglect to say all this was made possible because Juliana Lopes, you know, and Horowitz,

638
01:08:37,880 --> 01:08:47,400
a right-hand person, this wonderful, wonderful women who exude so much warmth. And in fact,

639
01:08:47,400 --> 01:08:51,720
I have, I have the picture here next to it, to this one, Juliana Lopes.

640
01:08:56,200 --> 01:09:03,000
Yes, Juliana and I, he said, and he, she was the one, you know, a lot of stories being said about

641
01:09:03,000 --> 01:09:06,680
Mr. Horowitz period, where it was a difficult period. I mean, there, there are quite a few

642
01:09:06,680 --> 01:09:11,880
different periods of Mr. Horowitz where he has mental breakdowns. And it really is just, so

643
01:09:12,680 --> 01:09:18,120
looking back, it's not easy to be an artist of that caliber. It's just, it's a process. It's

644
01:09:18,120 --> 01:09:24,920
nothing, it's, everything is manic, you know, you can say mood swings, I can imagine. So, so, but,

645
01:09:24,920 --> 01:09:28,840
but it was the period when Mr. Schomburg told me this too. And then when he went to Japan

646
01:09:28,840 --> 01:09:37,720
and, and, and it was when he was completely taking so much pill for issues of, you know, Mr. Horowitz

647
01:09:37,720 --> 01:09:42,200
would say, I have a little bit of colitis, anything, a little bit, something is problem. And he could,

648
01:09:42,200 --> 01:09:47,400
and then doctor easily prescribe him new medicine. So until he was becoming completely this, this,

649
01:09:47,400 --> 01:09:53,080
he cannot function properly. And Mr. Horowitz, Mr. Schomburg told me at first, I had that interview

650
01:09:53,080 --> 01:09:57,000
coming back. I thought he was like a zombie. I thought that, you know, this is finished.

651
01:09:57,000 --> 01:10:03,400
That is Mr. Horowitz finished. And Mr. Horowitz acknowledged this, which is, which is, this is not,

652
01:10:03,400 --> 01:10:08,440
not only just the piano, but, but he said, you know, you know, Juliana is like my wife.

653
01:10:09,880 --> 01:10:15,960
And everyone was mentioning how important Wanda is, absolutely, no, no doubt Wanda Toscanini,

654
01:10:16,840 --> 01:10:22,440
but it was, it was Juliana, the one who was very dear to him. He was the one who, she was the one

655
01:10:22,440 --> 01:10:27,800
who, she was the one who tell him maestro today, you will do this. You will do this. And then I

656
01:10:27,800 --> 01:10:32,600
will prepare you for this clothing, everything arranged, everything to make sure Horowitz life

657
01:10:32,600 --> 01:10:39,800
is just nothing but happy as much as working as well. So Juliana did was,

658
01:10:39,800 --> 01:10:51,240
Ms. Juliana took every, asked the doctors to make sure prescribe everything in pill, in capsule form.

659
01:10:52,360 --> 01:10:57,000
There was so then all the, you know, you can imagine all the, the psychotic drugs that it

660
01:10:57,000 --> 01:11:02,840
was being prescribed. And so he replaced them little by little with vitamins and then break

661
01:11:02,840 --> 01:11:10,920
and put it in capsule and get Mr. Horowitz not knowing and, and, and win off the drugs. And Mr.

662
01:11:10,920 --> 01:11:17,320
Horowitz told me she's the one who saved my life. And, and, and, and then when I knew him,

663
01:11:17,880 --> 01:11:23,320
she only drink water, a gallon of deer park water next to me.

664
01:11:23,320 --> 01:11:33,560
Wow. So that kind of, Juliana was the one who welcomed me with open arms and I bet

665
01:11:33,560 --> 01:11:39,320
this is the first time that he signed to course and how, and it was just, it was just, it was

666
01:11:39,320 --> 01:11:47,880
to these days. I remember her so very fondly. Yeah. But just to tell me, how was the first lesson?

667
01:11:47,880 --> 01:11:56,840
Like you went from, you know, even before you met, you know, Mr. Horowitz, so that impact of that

668
01:11:56,840 --> 01:12:05,080
individual, that genius is the ripple effect is so much, right? So then I didn't realize until I

669
01:12:05,080 --> 01:12:11,000
read the chapter of the biography that it became such a complicated thing toward the end.

670
01:12:11,000 --> 01:12:16,680
And it's nothing to do with you or not. No one is just the way.

671
01:12:17,640 --> 01:12:24,440
It's the nature of the horror. It says, you know, I mean, and, and, and Mr. Horowitz himself,

672
01:12:24,440 --> 01:12:32,440
I felt like it never Maestro himself never deviate from what music is, what a musician is.

673
01:12:32,440 --> 01:12:39,560
There's this deep down is nothing but musician. But people say, you know, oh, he's maybe he's not

674
01:12:39,560 --> 01:12:45,720
sometime he got even saying it's like, oh, maybe he's like, like a child. I mean, like he's not

675
01:12:46,280 --> 01:12:53,400
the capacity of thinking. I totally back differ. This is totally far from it. He was in many ways,

676
01:12:53,400 --> 01:13:00,760
in many levels, he's the genius. But, but having said that, also, I, I, Mr. Horowitz fame,

677
01:13:01,560 --> 01:13:06,680
and the legendary reputation was also created an aura of really almost like you're going there,

678
01:13:06,680 --> 01:13:15,880
you're going to see an emperor, or householder palace or some sort is run by. So it's a coterie

679
01:13:15,880 --> 01:13:19,880
of very important people to him, you know, who always been there, you know, Tom Frost,

680
01:13:21,160 --> 01:13:25,800
madam, and at a time of a period where Marie Farahia was also listening in.

681
01:13:25,800 --> 01:13:36,680
And so the question was, Mr. Horowitz, through Tom Frost called me and to say,

682
01:13:36,680 --> 01:13:45,000
Maestro wish to spend one year of his life. It was the word. Mr. Tom Frost told me I was still on

683
01:13:45,000 --> 01:13:55,000
living on 75th Street. And I was I was on my loft apartment. I remember, and then my asterisk,

684
01:13:55,000 --> 01:14:01,560
so it was my asterisk to devote one year of his life to teach. And I thought I was really

685
01:14:04,280 --> 01:14:10,600
overwhelmed. But anyway, that was the premise. So it gets to the point where the studying was very,

686
01:14:10,600 --> 01:14:17,080
very, very serious. We really we had a great time. And then one day at all time, also one that was

687
01:14:17,080 --> 01:14:22,600
going in at all time was always present majority of the time, it's partly because I feel like Judy,

688
01:14:22,600 --> 01:14:28,760
I will bring Judy, my wife, and Wanda will be there too. And it feels like it was like a lot of

689
01:14:29,720 --> 01:14:35,000
naturalizations that is not doesn't have to be explained. But we enjoyed the company very much.

690
01:14:35,000 --> 01:14:42,520
And in fact, Wanda was was was absolutely great in many aspects of commenting of, you know,

691
01:14:42,520 --> 01:14:49,720
we banter quite a bit and whatnot. And then it was very in good mood. Let's put a lot of

692
01:14:49,720 --> 01:14:57,080
this complication derived to the fact that as time move on and you know, that was

693
01:14:58,840 --> 01:15:07,560
I was already with YCA, the great organization, the Young Castle Artists, and it was Susan

694
01:15:07,560 --> 01:15:15,400
Wadsworth founded by Susan Wadsworth, certainly one of the most iconic person in music, you know,

695
01:15:15,400 --> 01:15:23,160
and really, and then many, many musician goes through that. And then prior to mine, although,

696
01:15:23,160 --> 01:15:28,760
although Jenny Vogel already was was was with already with me, they said, you know, well,

697
01:15:28,760 --> 01:15:33,400
you'd like to do the YCS, and we recommend that, you know, it's a good organization. So I joined.

698
01:15:34,200 --> 01:15:42,360
So YCS suggested I should do Van Clavin. And the Van Clavin competition, I said I did it in 1984,

699
01:15:42,360 --> 01:15:47,560
prior to the city. And I did very poorly, partly because I was so overwhelmed, partly because I

700
01:15:47,560 --> 01:15:53,240
was not be perhaps not even feel completely ready. But I felt like everything was was every note was

701
01:15:53,240 --> 01:15:59,080
being scrutinized every minute. It was just not natural feeling like not the way but but it's

702
01:15:59,080 --> 01:16:03,720
looking back, it's just I'm not just I was not tough enough. It's not it's not for everyone. And

703
01:16:03,720 --> 01:16:09,160
then, but so when I went to Sydney, three months later, I was thinking Sydney so far away, and

704
01:16:09,160 --> 01:16:14,280
there's not much that kind of exposure, I was I was I was somewhat able to, to perform much better,

705
01:16:14,280 --> 01:16:20,200
feel much more myself. And so that that competition is this really is an important

706
01:16:20,200 --> 01:16:27,160
element in the artist's life, in development of a career is important, because it's a necessary

707
01:16:27,160 --> 01:16:33,480
evil, if we put it evil, but also it can work really well. In my case, it works really well,

708
01:16:33,480 --> 01:16:38,920
not in the in the traditional sense, but in the sense that it propels me to know many people.

709
01:16:38,920 --> 01:16:45,640
And many the networking is done through because Schomburg was able to mention and then and then

710
01:16:45,640 --> 01:16:50,280
YCA is a great organization, but that's not really quite a competition. That was the period where

711
01:16:52,360 --> 01:16:59,880
one does suggest I should do the, you know, and I didn't want to do it. But it was at the urge of

712
01:16:59,880 --> 01:17:04,520
Marie-Brahia who kept saying that, you know, oh, you know, Eduardo should do that, you know, should do

713
01:17:04,520 --> 01:17:13,480
the composition. And so there was a kind of tension in the horror. He hated it. He hated the idea. But

714
01:17:14,040 --> 01:17:22,600
so I didn't know this one. And it was Juliana later on who told me towards the end, it was so

715
01:17:22,600 --> 01:17:27,320
much fighting going on, because I always doesn't believe in competition. And he thinks that

716
01:17:27,320 --> 01:17:35,320
Eduardo's and also not only that, I think, you know, my playing is not a it's been a knowledge,

717
01:17:35,320 --> 01:17:41,800
you know, when I played, I created a controversy. Sometimes, you know, out of unpreparedness is

718
01:17:41,800 --> 01:17:45,800
that I understand. But sometimes even when I'm prepared, sometimes people don't don't

719
01:17:45,800 --> 01:17:52,600
necessarily understand. Jury can be a set of jury can be a different set of jury. So it's a you know,

720
01:17:52,600 --> 01:17:59,800
that's just the nature of competition. But accepted as such. And but the tension. So it gets to the

721
01:18:00,360 --> 01:18:07,400
point where Mr. Horowitz was asking me to such, you know, why can't you just take my suggestion,

722
01:18:07,400 --> 01:18:13,800
you go with Harold Shaw, you know, with the also the very reputable his manager, you know,

723
01:18:13,800 --> 01:18:22,840
how could you give your concerts? And then I saw I told my my astro I'm already under commitment to

724
01:18:22,840 --> 01:18:29,240
ICM after I finished. And then you know, to a typical horror, what do you mean IBM IBM? Who

725
01:18:29,240 --> 01:18:43,080
is this IBM? I said, I said, I said, you know, I mentioned to me to do ICM, you know, I know,

726
01:18:43,080 --> 01:18:48,840
because you play with Isaac Stern, which as I mentioned, Isaac Stern's name being, oh, boy,

727
01:18:48,840 --> 01:18:53,640
he was not happy. He thought that to do it, he turned around and said, how do you think I'm not

728
01:18:53,640 --> 01:19:00,360
powerful? There was a very, this is very, I was quite shocked when I heard that I just said to

729
01:19:00,360 --> 01:19:05,880
which I did mention, you know, I really don't know, you know, I always believe that, you know,

730
01:19:05,880 --> 01:19:11,160
Kerry will be a career, whatever it is, you know, and then one destiny is one destiny, whatever it

731
01:19:11,160 --> 01:19:15,880
is, as long as you keep working, it is the most important. So to which I said, maestro, but that's

732
01:19:15,880 --> 01:19:22,600
not the agreement we had the agreement that I will study with you. I didn't feel I taking advantage,

733
01:19:22,600 --> 01:19:27,960
I could not even I didn't could not even mention I studied with him for many, for many months. He was

734
01:19:27,960 --> 01:19:32,120
the one who told everyone, including Mr. Schaumburg in the party, you know, you know, I met this boy,

735
01:19:32,120 --> 01:19:39,560
I met this boy, I met this boy. And it's so he was I'm completely under different. But you know,

736
01:19:39,560 --> 01:19:47,800
I didn't find it problematic to me. But the Cliven was problematic to me, because I was already,

737
01:19:47,800 --> 01:19:55,800
you know, why is he giving me dates? And and and and but but so when I went to Cliven, I

738
01:19:57,080 --> 01:20:03,240
people don't listen to me as as as if they didn't thinking is a Horowitz clone period, there's

739
01:20:03,240 --> 01:20:08,360
nothing. But then I must tell you this also, you know, they all forgot, there seems to people say,

740
01:20:08,360 --> 01:20:14,120
Oh, yes, Mr. Horowitz, Horowitz, Horowitz, that they forgot. If I'm a Horowitz clone,

741
01:20:15,240 --> 01:20:20,280
Mr. Horowitz will be the one who will not listen to me. He would not even be spending a minute.

742
01:20:20,920 --> 01:20:27,240
See, I'm just completely people sometimes take it, you know, they don't be outside,

743
01:20:27,240 --> 01:20:34,440
they don't understand. And then what is that? You know, it's it's my own feel. And I felt like

744
01:20:34,440 --> 01:20:39,240
I'm liberated the minute I hear Friedman, I can do what I want. You know, this is what natural

745
01:20:39,800 --> 01:20:46,040
inclination I have. And I want to develop them. This is this kind of. So sometimes we get pigeon

746
01:20:46,040 --> 01:20:51,080
hole very much. And in fact, when subsequently subsequently in my career, you know, and in the

747
01:20:51,080 --> 01:20:56,520
beginning of the career was like, Oh, Mr. Horowitz, you know, no, later on, no, they said, no,

748
01:20:56,520 --> 01:21:01,480
Halim has his own way. But that's the way the nature is when you work with such a whole

749
01:21:01,480 --> 01:21:06,520
overwhelming musician. But that's a small price to pay. It's not even a price at all.

750
01:21:06,520 --> 01:21:16,520
It I'm I consider that a complete privilege. And so when this tension comes, I think there was

751
01:21:17,480 --> 01:21:24,520
the breakdown. It felt like, Oh, but then also it happens to be Horowitz was so happy doing

752
01:21:24,520 --> 01:21:30,040
the last recording. That was the period. Also, he would start playing all the time, playing for me,

753
01:21:30,040 --> 01:21:33,480
all the repertoire, you know, we go through and I would. In fact, you know, he's the one who put

754
01:21:33,480 --> 01:21:38,440
me the recording for the first recording I made for the transcription. It was because Mr. Horowitz

755
01:21:38,440 --> 01:21:45,320
you know, it was like a look at the Tchaikovsky lullaby, you know, the Libeslei and the Wagner

756
01:21:45,320 --> 01:21:50,920
Tristan, which is, you know, he did. Oh, it was just perfect. You know, he would always talk about

757
01:21:50,920 --> 01:21:56,040
about it. And and our love for for for Carlos Schreiber, the conductor. Oh, my goodness.

758
01:21:56,040 --> 01:22:02,840
So just we we had a stack of at the time, just, you know, and then on that make sure. And we always

759
01:22:02,840 --> 01:22:08,440
talk about how great he was telling me wanted to take me to hear Othello and with the Kluiver.

760
01:22:08,440 --> 01:22:13,560
And, you know, he passed away. But it was like soon after. But I last time I met, it was during

761
01:22:13,560 --> 01:22:23,000
my birthday in August. Yeah, 1989. And I still remember he came down. He put an envelope to take

762
01:22:23,000 --> 01:22:34,600
Judy to dinner. He was he said, this is my social security. I thought it was you cannot. And it was

763
01:22:34,600 --> 01:22:39,240
I must tell you, it was so so in all in all. But, you know, later on when the book came out, I met

764
01:22:39,240 --> 01:22:45,160
Madame again, Madame and he was in her nineties. You know, we went I still remember we and Judy

765
01:22:45,160 --> 01:22:49,000
took her out. We walked and then Juliana, we went to Sarabes on medicine.

766
01:22:49,000 --> 01:22:54,120
And we were explaining a lot of things that you know, what's how it goes on. And then Madame was

767
01:22:54,120 --> 01:22:59,000
in the hospital when the book came out. And then and Juliana told me Madame knows that. So,

768
01:22:59,000 --> 01:23:04,840
you know, it's it's in the end, we learn not to it's not important. Yeah. But it was it was

769
01:23:04,840 --> 01:23:11,720
the urging of Parahia that makes it a lot of tension that feel like as if like, if I don't do

770
01:23:11,720 --> 01:23:17,160
outside for my own as like I want to take advantage of the relationship with the other

771
01:23:17,160 --> 01:23:21,720
and there was there was I felt it was a little bit painful for me. There was a very painful chapter

772
01:23:21,720 --> 01:23:29,080
to to to be such with it was never felt that way. But it was it was the the surrounding because I

773
01:23:29,080 --> 01:23:35,640
heard this one, Juliana Lady on Tom. And then in fact, you know, I went to when the horror was

774
01:23:35,640 --> 01:23:40,600
passed away, you know, and we all know, of course, we went we went to Frank Campbell, I mean, Judy.

775
01:23:40,600 --> 01:23:47,960
And I saw the casket is I don't I don't mention it too much. And it is on record. I mean, you know,

776
01:23:47,960 --> 01:23:55,560
I saw an open casket and it was there. I see the bow tied and then the handkerchief I get from Maestro

777
01:23:55,560 --> 01:24:02,840
and and and it was from I remember it's from Funberg and as you know, I got the charvet

778
01:24:02,840 --> 01:24:08,920
originally, but Maestro said, No, I don't want the charvet. How do you know? I don't want the

779
01:24:08,920 --> 01:24:15,560
I don't want the charvet. How do I tie it myself? So I get I get him the the the the red one and I

780
01:24:15,560 --> 01:24:23,080
get the blue one triangle pattern. I still have mine. And then it was it was Juliana. I was I was

781
01:24:23,080 --> 01:24:29,240
so so taken and Juliana I was I was completely speechless and both of us I almost you know,

782
01:24:30,520 --> 01:24:34,520
you you you you weep, you know, when you see the great person like that. I mean,

783
01:24:34,520 --> 01:24:41,080
because even if you and then do we any do we any mention to me that was the last one of the last

784
01:24:41,080 --> 01:24:46,040
thing to know my I didn't know that when you get older, you prepare everything. So what what

785
01:24:46,040 --> 01:24:51,240
clothing you like to wear. And I know he has like 500 600 both I in his room. And he said,

786
01:24:51,240 --> 01:25:02,840
Juliana said, Maestro wants this one. And so I you know, I felt. Yeah, I mean, it's it's it's

787
01:25:03,560 --> 01:25:12,200
it's an experience, a beautiful experience. You can't you can't know why the reason the only the

788
01:25:12,200 --> 01:25:17,400
the only thing I can tell the reason I was lucky to be surrounded by people who really believe in

789
01:25:17,400 --> 01:25:25,800
me. And also, I was lucky felt like we speak on musical level, meaning the exchange of music

790
01:25:25,800 --> 01:25:30,600
without it. It's nothing to speak of with, you know, the day they will, you know, there's a way

791
01:25:30,600 --> 01:25:38,600
of working through music. So and yeah, but but so the subsequent lesson, of course, been tremendous.

792
01:25:38,600 --> 01:25:46,680
It was the understanding of learning how to use pedaling, listening to polyphonic,

793
01:25:46,680 --> 01:25:54,360
to the structure of the piece. And to these days, to this day, I still do it, I still

794
01:25:54,920 --> 01:26:01,800
searching for it searching by doing that, I assume one gets gets better, you know, and it's

795
01:26:01,800 --> 01:26:06,440
it's it's I remember this one, my source said, it's a tragedy if you stop learning.

796
01:26:07,720 --> 01:26:13,400
And I never stop learning. He was so proud of saying, I never stopped learning. He was

797
01:26:13,400 --> 01:26:22,040
in the first concerto. And there was a kind of this this giddiness. And I think that's a blessing

798
01:26:22,040 --> 01:26:26,360
also, because, you know, a lot of time, you know, physically, when you are getting older,

799
01:26:26,360 --> 01:26:32,040
you know, but so getting back when I knew Mr. Horowitz, it was the Horowitz already mild,

800
01:26:32,760 --> 01:26:38,280
mild version of Horowitz, the mature version, meaning not mature. I meant that a much more,

801
01:26:38,280 --> 01:26:44,760
much more kinders setting. It was no more that that mercurial temperament, but temperament,

802
01:26:44,760 --> 01:26:52,760
nevertheless, is there. I just know no question. So the kind of so I was I was I was I came at the

803
01:26:52,760 --> 01:27:02,200
right time. Thank you for sharing this amazing because this is something that we cannot get it

804
01:27:02,200 --> 01:27:07,320
from the book, the biography, especially, you know, because that biography, especially was

805
01:27:07,320 --> 01:27:15,240
written 20 plus years ago. And this story is even before that. So I hope that you are able to,

806
01:27:15,960 --> 01:27:23,080
you know, sort of close this finally close this. I mean, you have already probably but, you know,

807
01:27:23,080 --> 01:27:28,840
just to be made this story public. Yeah, yeah, it's like a nice closure for me to and then,

808
01:27:28,840 --> 01:27:33,720
you know, and then I feel I feel like there was a kind of unexplained but but then it was explained

809
01:27:33,720 --> 01:27:41,560
many years ago to me already. But I felt that it was to, you know, I didn't feel like when it's not

810
01:27:41,560 --> 01:27:49,080
the time, I feel like it's time is good to to to to give a sort of like the next bit clearer,

811
01:27:49,080 --> 01:27:56,520
clearer explanation and where things things are. And really looking back, it's it's the

812
01:27:56,520 --> 01:28:04,600
the you know, a musician, I guess, I guess, one strive all the time to really wanting to find

813
01:28:04,600 --> 01:28:10,200
your voice all the time. I'm feeling like I'm more more more confident in what what is the voice I

814
01:28:10,200 --> 01:28:18,120
have. But it's all nurtured by, you know, this great man in my life, you know, and and and

815
01:28:18,120 --> 01:28:24,280
Shambrak in many ways, too, is very influential to me in a sense in the in the kind of introduction

816
01:28:24,280 --> 01:28:31,240
to many things of his knowledge of recordings, historical recording. And so that when we talk

817
01:28:31,240 --> 01:28:39,480
about Mr. Horowitz era, it Mr. Horowitz era is actually also is a court toe. I can say court

818
01:28:39,480 --> 01:28:48,440
toys, I can say the teaching of of of of horror. It's like Shura of Cherkasky's, the Hoffman,

819
01:28:48,440 --> 01:28:56,680
Joseph Hoffman, you know, and the great Paderewski is also this kind of individual speaking. And

820
01:28:56,680 --> 01:29:02,920
but they also Mr. Horowitz has something extraordinary, which is this absolutely sensuous.

821
01:29:03,560 --> 01:29:09,400
And the sensuality in his playing is one of the most important element, I think that that

822
01:29:09,400 --> 01:29:14,280
sometimes people people don't look at it. And I think that the bright side, the spectacular

823
01:29:14,280 --> 01:29:19,800
pyrotechnic, but it's not even that his pyrotechnic is never pyrotechnic. It was it was devil speaking.

824
01:29:20,440 --> 01:29:25,240
It was never I don't ever feel like it was a kind of a show. You know, it's just

825
01:29:27,000 --> 01:29:34,920
incredible temperament burst up. But it's studied. It's all studied. Yeah. And to which that that

826
01:29:34,920 --> 01:29:44,360
that Horowitz always give the respect for your craft, the respect for the piano, to understand

827
01:29:44,360 --> 01:29:51,160
what is piano capability. I think the sonority of the range of the piano is is important here

828
01:29:51,160 --> 01:29:57,880
to do and the passion for the instrument. So it's different, different level. Yeah. Yeah.

829
01:29:57,880 --> 01:30:07,000
Yeah. But, you know, he lived in a really golden era of piano pianists. And then you are able to

830
01:30:07,000 --> 01:30:14,440
really witness that, you know, his genius sitting right next to you. And then, you know, that legacy

831
01:30:14,440 --> 01:30:20,600
is still carries throughout, you know, obviously from the books recordings, but also through

832
01:30:20,600 --> 01:30:27,080
students, his students, and including you. And then then his even his grand students, I guess,

833
01:30:27,080 --> 01:30:34,600
you know, I think I really would like, you know, very much. And thankfully, you know, I

834
01:30:37,320 --> 01:30:44,120
my position at NYU is it was an NYU is such a great institution in a sense that, you know,

835
01:30:44,120 --> 01:30:50,440
we are very New York institution and allows, you know, NYU, there's no there's no possible

836
01:30:50,440 --> 01:30:58,760
to replicate an NYU campus anywhere on earth. That's not possible. NYU is a community of what

837
01:30:58,760 --> 01:31:05,160
New York is. You can't. The campus is scattered everywhere, but that's how we live.

838
01:31:06,520 --> 01:31:13,640
I remember this way. So that getting back to when, you know, Goronitsky's endowed chair was

839
01:31:13,640 --> 01:31:21,800
established. And I was struck by the fact during the selection process, you know, I asked so, so,

840
01:31:21,800 --> 01:31:28,360
so I got the positions and I was so happy. And then, you know, what is expected of me?

841
01:31:29,640 --> 01:31:38,600
And to which Din said, anything you want to do, anything at all. There is no kind of set criteria

842
01:31:38,600 --> 01:31:46,120
because so then then unlike maybe institutions like Harvard, you know, you do it our way because

843
01:31:46,120 --> 01:31:51,000
it's been established many ways. NYU is very forward looking. And NYU is that, you know,

844
01:31:51,000 --> 01:31:56,200
do whatever you think, you know, just bring your expertise and be yourself. We're not we don't

845
01:31:56,200 --> 01:32:03,320
dictate. And subsequently, when I was also in the chair communities, I mean, you know, for

846
01:32:03,320 --> 01:32:09,720
endowed chair committee, once I remember one of my really, really highly respected person who came

847
01:32:09,720 --> 01:32:22,440
to be in psychology and she he mentioned to me that it was yes, when the reason why he picked NYU

848
01:32:22,440 --> 01:32:26,120
despite he was he was already at a high position everywhere else. They said, you know, he said,

849
01:32:26,120 --> 01:32:32,040
because NYU is free, I can do I can shape the program the way I want it. And no one tells me

850
01:32:32,040 --> 01:32:38,360
but it's because they trust us what to do. So it makes it everyone really striving on their own

851
01:32:38,360 --> 01:32:46,280
term. Yeah. Yeah, I feel the sense. Yeah. And I also see the growth and improvement in terms of

852
01:32:46,280 --> 01:32:53,480
quality. Since I was there over 10 years ago, and now I mean, completely. I mean, it's a wonderful

853
01:32:53,480 --> 01:32:58,680
thing. And building is and they're also building another one of the big one. Yeah. And then because

854
01:32:58,680 --> 01:33:06,840
we got to interview Dr. Marilyn Nonke, who is the piano, piano studies and that was the chair now

855
01:33:06,840 --> 01:33:13,800
for the MTA. Yeah, I mean, yeah, I think in many ways, you know, I can attribute to her leadership

856
01:33:13,800 --> 01:33:20,040
and piano studies. Really, she was, she was a very open and then I think it just, she's just an

857
01:33:20,040 --> 01:33:26,120
amazing, amazing colleague and really, really, I mean, it's very open to let everyone the same

858
01:33:26,120 --> 01:33:33,240
to thrive and on your own. Everyone respected a vote for their skill. And no one, no, nothing is

859
01:33:33,240 --> 01:33:39,320
dogmatic. And yeah, and so I think that's important. And the student also reflected in the student

860
01:33:39,320 --> 01:33:46,920
body as well. You know, we, we, we have a very close need student that feel like we nurture each

861
01:33:46,920 --> 01:33:52,200
other. No one feels, you know, but competition is important, but we have a healthy competition.

862
01:33:52,200 --> 01:34:00,680
Yes. Yeah. Yeah. Yeah. We want to keep on and on and on. Yes, of course. But here, so, you know,

863
01:34:00,680 --> 01:34:06,520
the time is always the case. So you have to come back to another episode and share all the wonderful

864
01:34:06,520 --> 01:34:14,280
stories. And so, but we have like two or three, two things to maybe discuss. One is the upcoming

865
01:34:14,280 --> 01:34:23,000
concert this coming Thursday. Well, today, yeah. So by the time we release this episode, it's

866
01:34:23,000 --> 01:34:33,880
the two days from now. And so you are doing all this concert on Thursday. It's at the Yamaha

867
01:34:33,880 --> 01:34:38,840
artist services. I think the tickets are all sold out. However, it's going to be live streaming from

868
01:34:38,840 --> 01:34:45,720
the from there too. So make sure we're going to share the link in the description section so that

869
01:34:45,720 --> 01:34:56,200
a lot of people can watch at 730 PM Eastern time on September 22. So it's hosted by the New York

870
01:34:56,200 --> 01:35:03,880
division of the American List Society, right? Being presented by by them and American List Society is

871
01:35:03,880 --> 01:35:13,080
like a group of institution where basically keeping the tradition of France List. Yes, by educating

872
01:35:14,200 --> 01:35:21,240
the Hungarian Council as well. Right. Okay. Yes. And also it's involved as well. So, yeah.

873
01:35:23,400 --> 01:35:29,400
And I spoke I actually emailed Gila Goldstein, who is in charge of the New York

874
01:35:29,400 --> 01:35:35,080
division, and she will be hosting the wonderful concert. So tell us briefly about what you'll be

875
01:35:35,080 --> 01:35:48,200
playing and how you are preparing. So I, you know, I'm doing a journey through this

876
01:35:48,200 --> 01:35:58,600
transcendental age. So yeah, but it's entire thing, entire entire thing. The 12th. I think,

877
01:35:58,600 --> 01:36:04,120
you know, I perhaps I look at it, the most important part, I think that I feel, I feel

878
01:36:04,120 --> 01:36:12,040
there's a kind of sense of arch of stories being unfold, being told in the in the 12th series. And

879
01:36:12,040 --> 01:36:17,400
then, and you know, the transcendental age, this is perhaps the greatest contribution, I think, to

880
01:36:18,840 --> 01:36:26,600
pianistic world, I think, in terms of understanding how the instrument and the approach of

881
01:36:26,600 --> 01:36:31,480
prior to this, you know, if you think of Chopin, for instance, Chopin etude, of who I,

882
01:36:32,840 --> 01:36:36,760
which I adored very much, and I always work at it too, you know, I mean,

883
01:36:38,280 --> 01:36:43,080
and I have performed it to, you know, with certain various degree of success,

884
01:36:45,240 --> 01:36:51,400
including transcendental age, but it's always quite humbling when you do that, but always working at

885
01:36:51,400 --> 01:36:56,680
it. And the differences that, you know, easily, certainly in Chopin is that, you know, he's always

886
01:36:57,400 --> 01:37:04,360
addressing one issue, particular passage and one passage in one etude, but Chopin as a pianist,

887
01:37:05,000 --> 01:37:11,000
also using the facility of the hand facility, much the intricacy of the hand movement,

888
01:37:11,000 --> 01:37:18,200
the finger movement, and also the forearm and etc. But it was not until Liszt, I think, that

889
01:37:18,200 --> 01:37:25,720
really introducing a different level of sonorities. I think that here, it's very important, I think,

890
01:37:25,720 --> 01:37:32,680
for pianists to, as with myself, to understand what the sonorities, the ability to create

891
01:37:33,240 --> 01:37:39,720
a dark orchestrated sound, not just very dark, but meaning this kind of, and Liszt, in terms of

892
01:37:39,720 --> 01:37:45,320
etude, I think is one of the greatest vehicle, I think, you know, it's also for me, you know,

893
01:37:45,320 --> 01:37:56,520
every time I revisit again, and I found I learned great and more, the ability to be more efficient

894
01:37:56,520 --> 01:38:08,280
in creating sound, and both Chopin and Liszt, the coloristic aspect of tone, as a result of the,

895
01:38:08,280 --> 01:38:20,040
you know, the agility of your playing from working at this, it's very apparent. And here,

896
01:38:20,040 --> 01:38:24,760
one can quote, I think, Busoni who said, you know, it was Busoni who said, you know,

897
01:38:24,760 --> 01:38:31,160
it changed his outlook completely. He didn't understand it until he started redoing the entire

898
01:38:31,160 --> 01:38:40,040
Transcendental etude and to become a much more, felt more complete as a pianist. It was a very

899
01:38:40,040 --> 01:38:44,680
important one. And Busoni is not a slouch or a pianist, you know, it was Mr. Faradol who said,

900
01:38:45,960 --> 01:38:54,440
it's a tragedy, I didn't study with Busoni. And that's how important Busoni is in here.

901
01:38:54,440 --> 01:39:01,480
So but the Transcendental etude, so the 12 of them, but I will start with the libistode of Wagner,

902
01:39:02,840 --> 01:39:09,960
Liszt transcribed, I mean Liszt transcribed great many operas including Wagner, the townhouses,

903
01:39:09,960 --> 01:39:16,440
the flying Dutchman and whatnot. So but I decided to do on the libistode because it's

904
01:39:16,440 --> 01:39:24,680
one of the great work. It is truly one of the great work and I remember fondly, of course,

905
01:39:24,680 --> 01:39:30,440
you know, we were working with Mr. Horowitz on the Transcendental etude on the Tristan of his

906
01:39:30,440 --> 01:39:42,120
old days, you know. And so to have that challenge in the story of the Transcendental etude, it's

907
01:39:42,120 --> 01:39:48,040
done in three versions, different versions, and then the teenage version and the middle age version

908
01:39:48,040 --> 01:39:55,960
and the last version in his 50s when he redo this one. And to see the progress of it and how

909
01:39:55,960 --> 01:40:02,440
remarkable it is actually the thematic never changed. And so he just developed a skill and

910
01:40:02,440 --> 01:40:07,960
then the efficiency towards the end, you know, even though the second version, which I always

911
01:40:07,960 --> 01:40:16,040
try to work through it, you know, and not by no means able to bring it to perform, but

912
01:40:16,040 --> 01:40:24,120
there's a kind of economical usage of passage that Liszt is able to accomplish it

913
01:40:24,120 --> 01:40:30,520
more so than the second, but the second is a fascinating study, incredible studies. And then,

914
01:40:30,520 --> 01:40:37,320
you know, I must tell you also the ability for learning this one and of course, you know,

915
01:40:37,320 --> 01:40:43,080
I've always tried to improve the strength and it's how important the left hand is.

916
01:40:45,480 --> 01:40:52,360
And then, you know, I wanted to take that from the Liszt that it was very much what Horowitz said,

917
01:40:53,960 --> 01:41:04,200
to learn piano well, you should learn how to play chord well. And that's really, it's so true in the

918
01:41:04,200 --> 01:41:10,760
Lisztian tradition. And you know, I must tell you this to look back and a lot of things we're

919
01:41:10,760 --> 01:41:17,000
talking about teaching philosophy and whatnot, we get to it that I realized that how close is

920
01:41:17,000 --> 01:41:24,360
actually Horowitz to Chopin in the teaching, in the approach. It's been, when I hear Chopin's,

921
01:41:25,160 --> 01:41:32,200
I mean, I've read Chopin's account on how it is to, he's after, it's very much, and Liszt as well,

922
01:41:32,200 --> 01:41:37,960
and Liszt to me, here in Transcendental Etude, really portraying in one of the, not only just,

923
01:41:38,520 --> 01:41:42,760
it's a pinnacle, I must say it's one of the pinnacle of Liszt, of the Lisztianata being

924
01:41:42,760 --> 01:41:52,600
one of the men, so certainly. But I think here it points at how worldly the large visions of Liszt

925
01:41:52,600 --> 01:42:01,000
is and how noble, and there's nobles oblique, and the generosity of Liszt in his musicality,

926
01:42:01,000 --> 01:42:08,600
and in the harmony as well, and in the chasse n'est, in the paysage, the view. And so

927
01:42:10,360 --> 01:42:19,320
virtuosic has a new term on the Liszt, I think. It's not, I tried, you know, we all tried, I mean,

928
01:42:19,320 --> 01:42:26,680
very hard, you know, it's nice to have a hand that can move comfortably, but sometimes one

929
01:42:26,680 --> 01:42:31,160
had to be very careful to be, in a sense that, you know, I try at least, you know, in my information,

930
01:42:31,160 --> 01:42:38,680
try to have that, to strive for virtuosity that is not flashy, you know, flashy is not a bad word,

931
01:42:38,680 --> 01:42:44,440
but in this sense, it's really missing the point for the Transcendental Etude, and in general for

932
01:42:44,440 --> 01:42:53,720
Liszt anyway, because, you know, Liszt is maybe the composer that, if I looked at it and studied

933
01:42:53,720 --> 01:43:01,000
more and more, I realized how easily Liszt to veer off what his intention was, and in many ways,

934
01:43:01,000 --> 01:43:06,920
also Liszt suffered because of it, and his reputation, but if one look at the way one

935
01:43:06,920 --> 01:43:13,320
looked at Liszt's score, the way I look at Beethoven's score, and it is completely legitimate,

936
01:43:13,320 --> 01:43:19,960
and if he knew every note is not wasted, there is a kind of careful choice of where the placement,

937
01:43:19,960 --> 01:43:27,240
everything, and expressive device too, I mean, it's done in such a way in his writing, and only

938
01:43:27,240 --> 01:43:34,840
the great master can, it is great mastery in shows, for instance in the F minor, the F minor

939
01:43:34,840 --> 01:43:49,640
etude, it was his degree of building up power, and it's building up the sense of level of many

940
01:43:50,680 --> 01:43:55,000
textures and sounds, and it's really quite remarkable.

941
01:43:55,560 --> 01:44:01,640
Yeah, that's so beautiful, thank you so much, oh my god, I feel like this, I had an intense lesson,

942
01:44:01,640 --> 01:44:07,560
no, I understand why, for years he was like, every time before my lesson, I was nervous,

943
01:44:07,560 --> 01:44:14,120
you know, no, I understand, thank you so much, and yeah, and then speak, and then, you know,

944
01:44:14,120 --> 01:44:18,920
we would love to have you come back, and you know, we just cannot wait for this to,

945
01:44:18,920 --> 01:44:26,760
but as a tradition, we always ask our guests to have some advice for some young artists that are

946
01:44:26,760 --> 01:44:33,000
coming up, you know, speaking of as lifelong learners that we all have to be, all have to be,

947
01:44:33,000 --> 01:44:37,240
you know, as pianists, so what would you give to them?

948
01:44:37,240 --> 01:44:43,960
You know, I guess the most, the basic principle being an artist is that you're constantly being

949
01:44:43,960 --> 01:44:52,440
uncertain, and uncertainty is not part of the equation, so I think that uncertainty creates

950
01:44:52,440 --> 01:44:59,880
a lot of doubt, and the doubt you have to direct them, I think that's the hardest things to know,

951
01:44:59,880 --> 01:45:08,600
I think I learned through many years of up and downs, you know, and but one that I really

952
01:45:08,600 --> 01:45:14,520
stick to my mind very much was what Maestro said in the beginning, say don't envy,

953
01:45:15,960 --> 01:45:19,800
and it seems to be like simple, you know, of course, you know, everyone said, you know,

954
01:45:19,800 --> 01:45:25,560
don't be envious, this, that's not, but it is actually important because it colored the way we

955
01:45:25,560 --> 01:45:35,160
hear, and we, if we envy about something, listening to recording too, we tend to not be listening to

956
01:45:35,160 --> 01:45:42,200
what is the, we just see something that is, we felt we are inadequate, so we feel like everyone

957
01:45:42,200 --> 01:45:48,920
is inadequate, yeah, it's, we are inadequate in many ways, but what's important is that, you know,

958
01:45:48,920 --> 01:45:55,480
we struggle, and we work at it, and that becoming who we are, and then that accomplishment through

959
01:45:55,480 --> 01:46:03,320
that work, it's actually your accomplishment, only you have entitled to it, nobody else can be like

960
01:46:03,320 --> 01:46:08,280
that, and so I said to you, to everyone I was, say, you know, be yourself, I mean, that's that,

961
01:46:08,280 --> 01:46:15,960
it's easy to say, but the doubt is ever-present, but without doubt, there will be no learning,

962
01:46:15,960 --> 01:46:20,760
but there's this, I think so, you know, and so sometimes, and we meet somebody who are very

963
01:46:20,760 --> 01:46:26,280
confident, it's, I always wonder whether it's confident or is it insecurity, so I don't know,

964
01:46:27,640 --> 01:46:33,720
you know, yeah, yeah, yeah, it is close, yeah, yeah, they're close, so I, and also,

965
01:46:35,160 --> 01:46:41,560
career, so-called career, it's so different from one another, there's not two careers alike,

966
01:46:41,560 --> 01:46:46,120
so there's no formulaic way of a career, but the only thing I know is that

967
01:46:49,000 --> 01:46:56,600
you will make a career in whatever capacity, in whatever environment you are, is by always,

968
01:46:58,120 --> 01:47:03,640
I think, to be curious, to be constantly learning, it's not a singular thing, you know,

969
01:47:03,640 --> 01:47:08,680
to be a pianist, if you're only just piano, it's the method the most, I mean, there's other things,

970
01:47:08,680 --> 01:47:14,920
they're creating a personality, they're friends, they're outside, they're great things, you know,

971
01:47:15,720 --> 01:47:21,800
they're many experiences, you know, understanding the craziness of the world, I mean,

972
01:47:21,800 --> 01:47:28,600
the beautiful things of what the world has to offer, the friendship, and I think that in

973
01:47:28,600 --> 01:47:36,600
readings, or whatever, that it becoming a worldly person, I think, is much more, and then you want

974
01:47:36,600 --> 01:47:42,840
to think it's much more, and then you will find your way, and it's sometimes also the persistency,

975
01:47:42,840 --> 01:47:48,520
I must say, the persistency, so by then again, if we talk about persistencies, then does it mean

976
01:47:50,440 --> 01:47:56,440
when I studied music, I practiced music, I guess I don't question,

977
01:47:58,680 --> 01:48:04,760
it is who I am, it is the way I talk, so it is the way I speak, and so I guess, if there's no more

978
01:48:04,760 --> 01:48:09,480
no more issue, you just work, work, eventually, if you do good work, and you accomplish something,

979
01:48:09,480 --> 01:48:16,200
you understand more, I think that there are other people you can share with, and it will be great,

980
01:48:16,200 --> 01:48:19,160
they want to be shared, you know, and it would be nice.

981
01:48:19,160 --> 01:48:21,160
Yes, absolutely.

982
01:48:21,160 --> 01:48:23,160
Thank you so much.

983
01:48:23,160 --> 01:48:25,160
You're welcome.

984
01:48:25,160 --> 01:48:27,160
Wonderful, wonderful.

985
01:48:27,160 --> 01:48:31,160
Yeah, so, listeners, thank you for listening to us, so I just wanted before we go, I'll tell you that

986
01:48:31,160 --> 01:48:37,160
the American List Society will be presenting the 30th anniversary concert this Thursday,

987
01:48:37,800 --> 01:48:45,160
September 22nd at 7.30 p.m. Eastern Time at the Yamaha Artist Services on 5th Avenue and 54th

988
01:48:45,160 --> 01:48:53,000
Street in Manhattan, then Mr. Halim will be performing all list concert, and it will also

989
01:48:53,000 --> 01:48:58,840
be live streamed on YouTube, and then all the link is in the description section, so I hope you can

990
01:48:58,840 --> 01:49:05,480
attend either by in person or digitally, and thank you, Mr. Halim, but before we go, we have a really

991
01:49:05,480 --> 01:49:10,440
fun segment, it's called the rapid fire question, so we want to ask the really fun and silly questions.

992
01:49:11,880 --> 01:49:14,360
Yeah, oh, this is the most hardest, hardest part.

993
01:49:14,360 --> 01:49:15,080
The hardest part.

994
01:49:15,080 --> 01:49:17,480
So get ready, I'm gonna go first.

995
01:49:18,760 --> 01:49:20,120
What is your comfort food?

996
01:49:23,320 --> 01:49:27,320
I'm spicy food.

997
01:49:27,320 --> 01:49:29,480
Woo, we can be friends.

998
01:49:30,840 --> 01:49:31,880
Cats or dogs?

999
01:49:33,400 --> 01:49:34,120
Dogs.

1000
01:49:34,120 --> 01:49:35,160
Yeah, I know this answer.

1001
01:49:36,280 --> 01:49:36,920
What is your word?

1002
01:49:36,920 --> 01:49:37,880
Cat, dog.

1003
01:49:37,880 --> 01:49:41,080
Yes. What is your word or words to live by?

1004
01:49:46,520 --> 01:49:47,240
Never give up.

1005
01:49:49,000 --> 01:49:53,720
Yes. What is the most important quality you look for in other people?

1006
01:49:53,720 --> 01:49:58,920
Warm. Kindness.

1007
01:49:58,920 --> 01:50:02,120
What is the worst quality in people you want to stay away from?

1008
01:50:04,200 --> 01:50:04,760
Arrogance.

1009
01:50:06,760 --> 01:50:09,960
Name three people who inspire you living with them?

1010
01:50:11,080 --> 01:50:11,580
Judy.

1011
01:50:14,360 --> 01:50:15,560
You know, my family.

1012
01:50:16,760 --> 01:50:20,760
And yes, yes, and my dear friends.

1013
01:50:20,760 --> 01:50:23,240
Wow, beautiful.

1014
01:50:23,240 --> 01:50:23,740
Beautiful.

1015
01:50:24,760 --> 01:50:26,760
Yeah, that was an easy one.

1016
01:50:31,000 --> 01:50:34,520
Great. Name one piece in your current playlist.

1017
01:50:34,520 --> 01:50:36,520
Oh, in on the playlist on.

1018
01:50:37,480 --> 01:50:37,980
Yeah.

1019
01:50:37,980 --> 01:50:47,980
Black Pink.

1020
01:50:47,980 --> 01:50:48,480
Great.

1021
01:50:53,820 --> 01:50:56,460
Name one book title in your library.

1022
01:50:57,340 --> 01:50:57,840
Stendhal.

1023
01:50:59,020 --> 01:51:00,860
The black, the red and the black.

1024
01:51:01,420 --> 01:51:02,300
The black and the red.

1025
01:51:03,820 --> 01:51:04,700
The red and the black.

1026
01:51:04,700 --> 01:51:11,180
I love stories about, you know, and it very tragically.

1027
01:51:15,420 --> 01:51:16,460
Romanticism.

1028
01:51:16,460 --> 01:51:18,300
That's romanticism right there.

1029
01:51:18,300 --> 01:51:18,800
Yes.

1030
01:51:20,700 --> 01:51:22,620
Nothing compared to music and romanticism.

1031
01:51:26,460 --> 01:51:31,100
You know, but music is so it's unlimited.

1032
01:51:31,100 --> 01:51:31,600
Yes.

1033
01:51:31,600 --> 01:51:38,160
Sure. Okay. You get only one song or piece to listen to for the rest of your life.

1034
01:51:38,160 --> 01:51:39,040
What is it?

1035
01:51:45,120 --> 01:51:45,680
I must say.

1036
01:51:48,800 --> 01:51:52,400
This always sometimes change and change and change, but I must say it was

1037
01:51:52,960 --> 01:51:54,160
Horowitz playing the list.

1038
01:51:54,160 --> 01:52:00,960
I must say that's how I remember him.

1039
01:52:01,760 --> 01:52:06,000
It was, yeah, that is it's.

1040
01:52:09,120 --> 01:52:11,360
It's the most beautiful humanly possible.

1041
01:52:12,320 --> 01:52:19,040
And I can feel that the largeness of the generosity of feeling.

1042
01:52:19,840 --> 01:52:21,920
It was being portrayed by his playing.

1043
01:52:21,920 --> 01:52:24,320
Yeah, that's I would say that would be.

1044
01:52:25,040 --> 01:52:25,540
Yeah.

1045
01:52:26,240 --> 01:52:27,600
All right. Last question.

1046
01:52:27,600 --> 01:52:30,480
Last but not least, music is?

1047
01:52:30,480 --> 01:52:31,440
Feel in the flesh.

1048
01:52:32,400 --> 01:52:33,200
Music is life.

1049
01:52:37,520 --> 01:52:38,720
Thank you so much.

1050
01:52:38,720 --> 01:52:39,440
Oh my goodness.

1051
01:52:40,000 --> 01:52:40,640
Thank you.

1052
01:52:40,640 --> 01:52:42,800
That concludes this episode of the Piano Part.

1053
01:52:42,800 --> 01:52:44,800
Thank you, Edouardis, for joining us.

1054
01:52:44,800 --> 01:52:45,920
Thank you.

1055
01:52:45,920 --> 01:52:46,800
Wonderful time.

1056
01:52:47,440 --> 01:52:50,000
Sharing your stories and insights and expertise.

1057
01:52:50,000 --> 01:52:52,480
And you can find more information about Mr.

1058
01:52:52,480 --> 01:52:55,520
Halleem on his website at edouardishalleem.com.

1059
01:52:55,520 --> 01:53:02,560
We want to encourage our audience to tune in this Thursday, September 22nd at 730 to the YouTube

1060
01:53:02,560 --> 01:53:08,880
live stream of his All List program concert, hosted by the New York Chapter of the American

1061
01:53:08,880 --> 01:53:09,920
List Society.

1062
01:53:09,920 --> 01:53:12,000
All the links are listed in the description.

1063
01:53:12,720 --> 01:53:16,480
Thank you to our wonderful audience and the fans for tuning in today.

1064
01:53:16,480 --> 01:53:22,720
If you enjoyed today's episode, please read and review it on whatever testing platform you're

1065
01:53:22,720 --> 01:53:23,520
using.

1066
01:53:23,520 --> 01:53:28,800
If you're watching us on YouTube, remember to hit the thumbs up button and be sure to

1067
01:53:28,800 --> 01:53:30,480
subscribe to our channel.

1068
01:53:30,480 --> 01:53:34,640
You can also find us on Facebook, Twitter, Instagram and LinkedIn.

1069
01:53:34,640 --> 01:53:37,120
The links are in the description below.

1070
01:53:37,120 --> 01:53:42,960
If you're interested in being the guest or recommending someone to be on our show as a

1071
01:53:42,960 --> 01:53:50,720
guest or you'd like to sponsor or collaborate with us, shoot us an email at the pianopodnyc.gmail.com

1072
01:53:50,720 --> 01:53:55,040
will send us a direct message via social media.

1073
01:53:55,040 --> 01:53:58,320
We will see you for the next episode of The Piano Pop.

1074
01:53:58,320 --> 01:53:59,600
Bye everyone and thank you.

1075
01:53:59,600 --> 01:54:00,560
It was so much.

1076
01:54:00,560 --> 01:54:01,840
Thank you so much for joining us.

1077
01:54:01,840 --> 01:54:02,400
Thank you.

1078
01:54:02,400 --> 01:54:03,120
Thank you.

1079
01:54:03,120 --> 01:54:04,320
Oh wow, thank you.

1080
01:54:04,320 --> 01:54:14,320
Thank you.